“Stunning,” in its world premiere at Woolly Mammoth Theatre Company, is a fascinating play. And not just for the reasons touted in the program. Yes, “Stunning” is a compelling entry point into the Brooklyn Syrian-Jewish community, a group underrepresented in the mainstream media. But “Stunning,” written by David Adjmi and directed by Anne Kauffman, leaps beyond the specifics of time and place to delve into the intricacies of its protagonists. Really, “Stunning” is more a character study about 16-year-old Lily, a Syrian Jew recently married to a much older husband, and her new African-American lesbian maid.
Lily has just moved into her husband’s icy, minimalist house, and she is considerably spooked by rumors of a ghost within. There are other literary ghosts that haunt the play—most notably, Tennessee Williams’ “A Streetcar Named Desire.” The maid is named Blanche, for starters. She comes complete with a suitcase, prepared to be a “live in” for Lily and new husband Ike. Ike is a Stanley for the new generation; he is coarse, fit, and sexually charged within an inch of his life. Of course, Ike doesn’t like Blanche, and resents her presence and relationship with his wife. The parallels to “Streetcar” continue throughout the play—so don’t expect a happy ending. Expect violence. Expect destruction.“Stunning’s” eventual shift to darkness is all the more potent because of what has come before. There is a lot of tonal play at work here; the production swims into comedy and romance before things fall apart. The comedy is particularly enjoyable. “Stunning” opens with a deeply amusing conversation between a sun-burnt Lily, just back from her honeymoon, and her older sister and friend (an underutilized Abby Wood.) These last two are like the “real housewives” on Bravo, but more terrifying—hardened, smug, and cracking gum like weapons. Lily, on the other hand, is timid, wide-eyed and above all, young. She doesn’t know what to make of her new husband or of her new maid. As the plot thickens, the characters are faced with difficult choices—but their decisions all feel organic. It is a relief to watch a play where people act as they should—here, the characters propel the plot, and not the other way around.The acting is fierce and committed from all involved. Laura Heisler as Lily is excellent as the child-bride, selfish and uncertain but with a good heart underneath her gaudy jewelry. Like Stella in “Streetcar,” Lily is a sensual creature. She begs Blanche to tickle her arm and sucks on a ring-pop like a pacifier. Heisler holds nothing back; Lily is unnvervingly greedy for comfort and almost desperate in her vulnerability. She is well-matched by Quincy Tyler Bernstine as Blanche. Blanche goes through a whole lot in this play; it looks exhausting but Bernstine is more than up for the task. Her performance is especially commendable, given that at first glance Blanche seems doubtfully constructed. Why would a well-educated 43-year-old woman take a job as a maid? She has much more schooling than her employers. But there is more going on underneath the surface—this Blanche has her ghost as well. The third point in this triangle, Ike, is played by Michael Gabriel Goodfriend. He manages to make Ike, who has done some despicable things, into more than a villain. Goodfriend is helped by the script here. Ike has been given an Achilles heel in the form of a pet. Ike showers his goldfish with tenderness that he either cannot or does not give his wife. The fish bobs grimly in the background for most of the play. Like Chekhov’s gun on the mantle—if you write it in, someone better fire it by curtain call—this goldfish seems destined for greater significance than most. Ichthyoids-lovers, you are hereby warned: things go badly for the little dude.The design elements do their job well—they help to tell the story. The set, by Daniel Conway, thrusts us right into the newlyweds’ abode. Their house is so white and spotless that one of Blanche’s duties is to touch up spots with white paint. The place is heavy on mirrors and panels. Deftly used, these panels allow us to see Blanche’s basement digs, the master bedroom, and the living room and kitchen. Helen Q. Huang’s costumes, like the rest of the play, are thoughtfully chosen. Tight jeans and bangles, along with overly-straightened, limp hair and frosty manicures, combine to offer us a glimpse into the garish wealth of these characters. The sound, by Ryan Rumery, thumps Middle-Eastern flavored beats into the space, immediately giving a sense for the modern, rapid-fire world these women inhabit.There are a few bones to pick with the script. Blanche, for one, has a tricky arc, and I’m not sure it is entirely successful. “Streetcar’s” Blanche has visible cracks in her façade from the start, but “Stunning’s” Blanche seems so put together, especially compared to Lily, that her eventual decline doesn’t seem earned. The show is also too long. There’s only so much trauma an audience can take before it goes numb. We got numb. Finally, the production submits to the sudden random trend of projecting stage directions and scene titles for the audience to read. The projections don’t add much, but that’s okay. “Stunning” gets so much right, that its imperfections are easy to overlook.“Stunning” runs at Woolly Mammoth Theatre Company from March 10 to April 6. Tickets range from $24-$57. Call 202-393-3939 or visit www.woollymammoth.net for tickets.
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