June 24, 2024

‘I’m Gonna Marry You Tobey Maguire’ Superstar Takes A Smart Hostage

The setting is all too familiar: crazed fans take their idol hostage. Chinese, I will marry you Tobey Maguire (Cille, until 29 July), directed by Tyler Strubble’s delightfully off-kilter mischief, even references miserythat famous dripping-in-sad movie in which Kathy Bates slapped James Caan’s ankles after ‘rescuing’ him from a snowmobile accident.

But Samantha Hurley’s witty and moving drama imagines more than a simple moon psycho-torture story – although it certainly has fun flirting with that too, and pushing us accordingly. It is set in South Dakota in 2004, where 14-year-old Shelby (Tessa Alberston) has somehow managed to kidnap Maguire (Scott Thomas), and transport him undercover from Los Angeles to her basement. house, where she chained him. pipe.

Dressed in wedding attire, her long-term intention is matched by her devotion and attraction: he’s not going anywhere. Janae Robinson plays Shelby’s never-before-seen mother, upstairs but it might as well be in another country. Robinson is also a kind of Maguire’s inner voice or phantom, tormenting him as he begins to inhale enough aerosol to offset the tedium and horror of his executed captivity. Robinson is also a real estate agent, Brenda Dee Cankles, who lands on Shelby’s secret prison – and we all know what awaits an intermediary when they interfere with the despicable plans of a psychopath.

The surprise, together, is all the unexpected twists and subtleties given to both Shelby and Tobey – and both the strange narrative spaces. Hurley writes in the episode, “This is for the girls who wrote fan fiction for One Direction and also for One Direction, who hid in the back of restaurants, sneaking to the car to avoid the aforementioned girls. This is for anyone who has ever kissed a polish Tiger beat or an M magazine poster in his room, and this is also for Zac Efron who probably has to put up with a lot of people telling him that they used to kiss posters of him in his room.”

Rodrigo Hernandez’s designs and costumes are so sharp and perfect that they are almost like another character. We are really in 2004, low-slung jeans, crop-tops, and Maguire is scoffing for roles with the best of Hollywood after his casting as Spider-Man. We are also led downstairs by posters of Mag Uidhir from papers and magazines, a mixture of real life and a fictional environment. Picture from Tiger beat she dominates the space, which includes Shelby’s bedroom and the self-made torture chamber she created for Maguire.

Scott Thomas in ‘I’m Gonna Marry You Tobey Maguire.’

Evan Zimmerman for MurphyMade

First of all, he can’t believe where he is, and thinks he must be a producer hawk, or even a nightmare that he can wake up from. Albertson and Thomas perfectly sketch the eddying currents of capture and captivity. Both are struggling with parts of their real lives—Shelby wants the sanction of the social community with her peers at school, and what being a fan does and doesn’t mean; Maguire nervously considers the terrain of his popularity and his own reputation. They see each other, toy with each other, lose their minds with each other, and then make very different ways out of the situation in a fog.

The space is so close we see the two very close, including when Shelby delivers electric shocks to Maguire’s chained body. Albertson’s face is a storm of teenage angst and emotional swings (and Shelby is crazy too, and Albertson is as scary at the time as Kathy Bates could be). Thomas represents Maguire’s desperation, but also vanity. Each undermines the other, and then in a very sweet moment dance together in a kind of moment of comfort – two people lost and lost – rather than desire.

The play ends as conveniently as its layout would suggest, but in a sweeping 90 minutes, I will marry you Tobey Maguire does and does not do the things you would expect. He toys with all kinds of familiar stereotypes and tropes, then treats them with wit and heart through his skilled writing and performances. It also features some real shock and gasp moments. To make sure there is no misunderstanding, Hurley writes in the episode: “This is not a play for Tobey Maguire (sorry). **If you’re Tobey Maguire’s lawyer reading this play, call me. I can explain!!!!”

Orpheus going down

Another couple in a complex dance of personalities and desires takes center stage in the Theater for a New Audience/Polonsky Shakespeare Center production of Tennessee Williams’ Orpheus going down (until August 6). Maggie Siff as Lady Torrance and Pico Alexander as Valentine/Val Xavier play, variously, a no-nonsense shopkeeper and a quirky musician-loner with an understanding and a need to escape the confines of not only the turbulent, highly racist Southern town in which they are. in, but themselves.

The play is told in three acts, takes place in a sort of dusky gloom (David Weiner’s lighting is a design element in itself); even when the second act is supposed to be in the afternoon, you never feel the heat or exposure of daylight. Darkness hides, and there is much to hide here.

Maggie Siff, left, and Pico Alexander in ‘Orpheus Descending.’

Gerry Goodstein

We know what Lady must escape from as her upstairs bedroom echoes the loud clapping of her sick, cruel husband, Jabe (Michael Cullen). Whenever she is about to express herself, the peaks are like lightning bolts from above – commands for her help and symbols of her birth.

There is a satellite cast of other characters in the play, directed by Erica Schmidt, but they are actually speaking in a slur. Siff gives an exhilarating masterclass in performance. She’s a playful, funny lead—Italian, so foreign in reality and spirit in this town—initially dismissing Xavier’s obvious flirtation. She frowns upon any passing idiocy, but she cares deeply for those who need her, especially the spoiled, rugged belle Carol Cutere (Julia McDermott).

Just as Siff is no one’s fool, Val is not only the bubbly, mysterious lon that he could be (and could be played as), but just as determined as she is. Time and time again, he has fallen short of what people expect of him and of him. Is he a trickster, stud? He wears a snake’s sheath as armor, then throws it away. Can she free herself from the dry goods store she runs with the same loyal detachment as well as her marriage, which she really can’t stand?

Around Mhuire and Val as they awaken to possibilities, loneliness and escape, the townspeople go on with their processions and terrible trivialities (Vee Ana Reeder stands out with her wishes to make art – and a brutal husband ready to spend any joy). But the play is really about the exciting, flirtatious, tragic duet of Mhuire and Val as they try to get out of an ugly, narrow place where neither of them belong. Serbs may be waiting, but the lie is exciting. Orpheus going down they will probably find each other, and in everything they share, and say and do not say.

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