MARRIAGE, FRIENDSHIP AND COMPLICATIONS
Generally speaking, as most of us enter married life, our circle of friends change. Whether it’s geography, maturity, personality conflicts, employment etc., many of us establish new connections, this time with a couple focus. As a team, the husband AND wife together decide whether or not certain married couples can become a part of our new circle. It’s likely that we spend a considerable portion of our leisure time connecting at sporting events, concerts, vacations or perhaps relaxed evenings involving food, drink and plenty of conversation. If the connection endures for a long time, we make judgments about our “friends”; after all, we believe we know them well. Donald Margulies, in his Pulitzer Prize-winning play DINNER WITH FRIENDS, examines such a friendship, the assumptions that are a significant outgrowth of our journey, the surprises that may emerge along the way and the impact those new developments may have on our own marriage.
After a couple of decades, this critic decides that the time is right – finally – to see a production of this well-regarded drama. He visits the storied Beverly Hills Playhouse, an actor training institution of some renown, for a performance. Produced by Crimson Square Theatre Company, in association with Beverly Hills Playhouse and Cheshire Moon, Inc., this production represents one of the first efforts of the fledgling theatre (I AM MY OWN WIFE was the inaugural one). Leaders anticipate five shows per season featuring Playhouse staff and students, many of whom are working actors themselves, in concert with other
professionals on the LA scene. If this play can be termed an accurate representation of the quality of their work in the future, then these artists can expect continued growth for their company.
“Gabe” (Jay Huguley) and “Karen” (Samantha Sloyan) are professional foodies who reside in Connecticut and apparently lead a comfortable life, always ready to embark on the next souffle (although they regularly and playfully spar when their taste buds are at odds with their partner’s).They invite another couple into their lives, though their marriage happens in no small part because the spark is instigated by matchmaker Karen arranging a get-together (aka informal date) between her artsy friend “Beth” (Tania Gonzalez) and Gabe’s self-assured lawyer friend “Tom” (Chris Devlin) at their Martha’s Vineyard summer home. Karen feels that they are right for each other, and after some initial misgivings, romance ensues and the marriage contract is not far behind. Over the years their friends seem to be a content, married couple with no sign of discord. Meanwhile, Gabe and Karen deepen their relationship, appearing to be sympatico in conversation and physical affection as well.
Out of the blue…a complication. Beth unloads on Karen that Tom has abandoned their
marriage rather abruptly upon his developing a more fruitful coupling with another woman. There are lots of recriminations – apparently – as Tom exits the relationship. Karen is stunned about the break-up and immediately paints Tom as the villain; Gabe, on the other hand, acts more measured in his response.
Then, after a short period of adjustment, Beth excitedly reveals a new, dreamy man in her life and expresses her desire to marry this guy. Karen is flabbergasted all over again. Gabe does get an opportunity to question Tom about his new, lusty relationship with the “other woman”, although he seems puzzled about Tom’s behavior.
Gabe and Karen are forced to explore their previous understandings about their friends. They each discover lessons from the happenings, and Karen – especially – begins to question their own relationship. Mr.Margulies seems to be suggesting that marriages are very fragile indeed. In addition, appearances can be deceiving when it comes to friendship.
Unlike the marriage of Tom and Beth, this ensemble registers as rock solid. I applaud all of these performances and am particularly enamored with Jay Huguley’s “Gabe”. Well done, sir!
Michael Yavnicli directs with a knowing take on the complexity of relationships. The rhythms of the piece are right on the mark. The character interpretations are fine-tuned. 
Given the seven settings within the script, it is easy to understand why the play is produced rather infrequently. While I appreciate the naturalistic approach to these settings, and enjoy watching the crew reassemble the jigsaw pieces of the stage setting, I believe that an alternate approach could aid the production.
The demands inherent in any marital relationship are all-encompassing, and just as often at risk. It would be interesting to know Mr. Margulies’ impetus for exploring these issues. This is a worthy production that should be seen during its short run ending on June 30.
pc: Elizabeth Tsubota
