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His own life quickly began to get out of control, causing him a tragedy at age 44 and a catastrophe of his own creation at age 50 (when it is played by Kellie Overbey). Finally, at the end of middle age, when Mrs. Brown takes over, she finds some serenity.
The intermittent and lateral approach requires a lot of actors. Mrs. Overbey, in the heartbreaking scene that precipitates the end of her second marriage, must go from scratch to breakdown in about three minutes. Mary Page, 63, of Mary Brown, who watches "House, M.D." with her third husband, receives a letter that suddenly makes her cry. The letter is not read aloud
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The six pages Mary are excellent. , as if in a relay race, the baton of the discontinuous personality of the character. If Mrs. Brown seems to give a particularly fine performance, it is partly because the old Mary Page is more stable than the previous ones. The three pages Mary from 27 to 50 – the very tight Ms. Maslany, the frantic Mrs. Pourfar and the explosive Mrs. Overbey – trace more irregular emotional arcs. Mary's two youngest pages beautifully establish the baseline.
Despite the deliberate disconnection of the screenplay, the production, another staging with a certain expressiveness of Lila Neugebauer, makes it perfectly legible. The whole support – husbands, friends, kids, nurse – offers deeply engraved cameos. Among other useful touches, Kaye Voyce 's costumes and especially the wigs of Anne Ford – Coates and Tom Watson help you keep track of the timeline.
Neugebauer, whose unpredictable precision has contributed to the recent revival of Edward Albee's "At Home to the Zoo," warmer than it appears in his original production, works here in the Other meaning, preventing Mr. Letts' baroque machine from overheating. Maybe she's succeeding too much. On a set of Laura Jellinek that judiciously suggests the cross section of a roller coaster, the years slip almost like paintings in a show. Only briefly between scenes – and once, in a mesmerizing moment towards the end – Ms. Neugebauer lets Mary pages recognize each other even if they do not connect (and could never).
If this is a disadvantage, it is also Mr. Letts' point. Mary Page, 36, at a date with her psychiatrist (Marcia DeBonis, perfect), describes her personality as a series of "compartments" and thinks of ways to integrate her "lives". different. " in the action and understand how her refusal to recognize them creates the moral fog that she prefers to live. No wonder she quickly disavows her therapeutic ideas as a bull.
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