BWW Reviews: GOOD PEOPLE is a Timely Tribute to Bostonian Resilience

Prior to the opening night performance of Different Stages' production of Good People, the company's Artistic Director, Norman Blumensaadt, took to the stage to deliver a curtain speech. "You pick a play a year out because you want to do it," he said somewhat uneasily, "and sometimes things happen which change the play or bring things out that you didn't know were there. So with that said, we welcome you to Boston."

While this week's tragic Boston Marathon Bombing definitely changes the effect the story and characters have on the audience, the cast and crew at Different Stages make no apologies for doing a play about Boston at such a critical time in the city's history. Instead, they celebrate the city and the people in it, turning Good People into an unashamedly honest celebration of the Bostonian spirit.

The play, by Pulitzer Prize winner David Lindsay-Abaire, concerns Margaret, an undereducated, down-on-her-luck single mother who scrambles to find a new job before her landlady evicts her and her mentally retarded daughter. When she finds out that her childhood friend and former flame is now a successful doctor, she sees an opportunity to get back on track.

While the story may be simple and not entirely original given the amount of stories out there about single moms looking for a break, Lindsay-Abarie's writing tells it in a way that is often attempted by others but rarely accomplished. Many of his scenes, particularly the ones between Margaret and her Southie neighborhood friends, are incredibly true to life and make the audience feel like flies on the wall. Like many of his other works-particularly Kimberly Akimbo, Shrek - The Musical, and his screenplay for Oz The Great and Powerful-many moments thrive on awkwardness, and the entire piece revolves around a likeable misfit and the theme that no one is completely good at heart.

While Director Karen Jambon's focus on creating completely believable and fully realized Bostonian characters (the accent work from the entire cast is fantastic and accurate), she falters slightly with the pacing. A few moments in the first act don't capture David Lindsay-Abarie's fapid fire dialogue or dark humor and the scene breaks take far too long, but the more dramatic second act is nearly flawless.

Jambon's cast is what truly brings the piece to life. While he may be in an underwritten supporting role, Porter Gandy gives his all to the character of Stevie, Margaret's former boss and the son of one of her childhood friends. Jean Budney plays Margaret's landlady Dottie as a daffy, nosey busy-body who can't help but push her ugly, shabbily made crafts on her friends. Anne Hulsman gets the most laughs as Jean, Margaret's tough as nails, foul-mouthed best friend, and Tom Chamberlain is fantastic as the doctor and Margaret's potential meal ticket, Mike. The character is definitely the most developed one of the bunch, and Chamberlain uses every piece of nuance and back story that Lindsay-Abaire provides, allowing Mike to turn from likeable good guy into notorious jerk. As Mike's wife, Kera Machelle Blay is stuck up in some moments and sweet as pie in others, matching her husband in dysfunction.

But it's Rebecca Ann Robinson as Margaret who stands out the most. With an earthy quality reminiscent of Frances McDormond (who played the role in the original Broadway production and won a Tony Award for it), Robinson creates a congenial but deeply flawed character. She's tough, ball-busting, crass, and pushy, but she's also an occasionally vulnerable everywoman whose sporadic moments of social awkwardness and ineptness are strangely adorable. Despite her rotten lot in life, Margaret is an unrelenting fighter, and despite her flaws, we desperately want to see her succeed.

The only weak link in the production is the set by Ann Marie Gordon. Gordon's decision to split the tiny City Theatre stage into three is a very tough pill to swallow and gives the actors very Little Room. While the plain, muddy, and cluttered style displayed in her set serves the Southie neighborhood scenes well, there isn't a large enough contrast between that environment and Mike's affluent Chestnut Hill home.

Still, despite a few minor flaws, Different Stages production of Good People is more than just good. It's outstanding. Armed with a gripping, compelling, and witty script and six of the strongest actors in Austin, Good People is an enjoyable, funny, and touching testament to Bostonian defiance and strength.

Running time: 2 hours and 5 minutes, including one 15 minute intermission.

NOTE: Due to adult language, GOOD PEOPLE is recommended for mature audiences only.

GOOD PEOPLE, produced by Different Stages, plays the City Theatre at 3823 Airport Blvd Suite D, Austin TX now thru May 11^th. Performances are Thursdays - Saturdays at 8pm and Sundays at 5:30pm. Tickets are $15, $20, $25, or $30 pick your price.

For tickets and information, visit http://www.main.org/diffstages/index.html.