Laughing Wild: Cardinal Rep

Life is tough, why must we make it tougher on ourselves? This is the message promulgated by award winning playwright Christopher Durang in his show Laughing Wild. Chronicling the course of events surrounding an ill-fated shopping trip for tuna fish, Mr. Durang suggests that life could indeed be easier if we all would just breathe, live, and empathize with our fellow humans.

Written during Durang's early years in New York City, a city which he regarded with the deepest fear and loathing, the damaged souls that he parades before the audience do what they can to cope, even if it requires violence. And yet, despite the fact that the minds of his characters are not merely twisted, but indeed are fully sprained, there is a hopeful call for understanding between fellow humans.

One of the limitations of this script, however, is its inherent topicality. Very much a product of 1980's angst, numerous references are made to Chernobyl, the rising AIDS epidemic, and the king-hell of all unsympathetic father figures, Ronald Reagan. Given this topicality, which borders on the level of stand-up comedy at times, one might wonder if Laughing Wild can still speak to audiences today. Indeed, topicality in scripts is an issue that one must wrestle with when considering production. Even hallowed Rent, very much a product of its times, has been considered a candidate for topical update, in the hopes that freshness will be retained if the transcendent message is leavened with fresh topicality. However, one should note that all truly great drama not only contains these connectors to transcend time and place, but also is firmly rooted in the milieu of the time in which it was created.

Laughing Wild is a product of the Boomer/Yuppie ennui of the 1980's, he who dies with the most toys wins. While there are striking similarities between that ennui and the existential boredom that currently infests the culture, one should note that they have distinct roots. While today's ennui is the outcome of failed economic policy, fear, and interminable war, that of the 1980's was far for affective upon the fringes. Given that the United States would soon emerge victorious from the Cold War as the world's last remaining superpower, there was a tinge of victory in those times. Yet, the ennui of Durang is very much that of one who will not share in the celebration. Thus, The Savannah Dramaturgy applauds the director, Ms. Bridget Tunstall, and Cardinal Rep for refraining from updating this script. Only Twinkies keep their freshness unsullied through the ages, and keeping Laughing Wild rooted in the original context of the 80's actually helps the audience build a greater understanding of their own disillusionment by seeing that of another age honestly depicted.

Further, Caridal Rep has constructed, in Laughing Wild, a strong argument for its consideration as the flagship of Savannah's theatrical community. Given the spare set, really a stripped and repainted version of the Little Theatre's Moustrap, one is allowed to focus far more on the talents of actor and director without being distracted by flash. Ms. Tunstall, in her professional debut, has molded a moving and entertaining piece that reaches across the almost twenty years since its writing to shake the audience roughly awake and shine an almost Beckettian light in their faces. The acting, ably executed by Cardinal Rep Literary Director Phil Keeling and stalwart Valerie Lavelle, navigates the twisting, thesaurus infected stream of consciousness Mr. Durang has provided. Foundering upon the rocks of obscure referentiality or simple, ridiculous absurdism in order to keep the audience laughing would be easy with this piece, and yet the cast navigates well. Mr. Keeling effectively conveys the fear of one living in the United States and yet trying to retain that small shred of dignity and coherence that could all too easily be whisked away. Ms. Lavelle quite simply glows in the dark with the crushing madness of one who has already lost everything and now seeks only to survive.

Indeed, much can be said about the acting here. Which is another of the strengths of this piece, and Cardinal Rep's choice thereof. Though Edward Albee's Seascape had originally been planned for this slot, only having to be abandoned due to certain personnel issues, Laughing Wild has a particular strength in service the Cardinal Rep's mission to build an indigenous theatrical community for the city of Savannah. The sparse nature of this production, along with the opportunity for virtuoso performance from the city's actors, provides much-needed exposure to the talents available to the city's growing theatre. While Seascape is a wonderful play, it provides far less of this and therefor may be considered of lesser service to the development of Savannah's theatre community. Savannah now knows, because if they have not seen then The Savannah Dramaturgy is telling them, that there are some true virtuosos at their disposal. Further, we issue a warning that such talents MUST BE fostered if there Savannah truly aspires to have a theatre of its own. This extends to those groups outside of Cardinal Rep, and should be addressed across the board.

Finally, it is worth noting the intesly communitarian spirit felt in this production. The setting at the Freight Station Theatre is delightfully intimate and projects an aura of ongoing activity. In much the same way that mid-century movie houses would run their fare continually, including newsreels, on the off chance that one must step out and return, the feel around Cardinal Rep is very much that while you might miss one thing, the institution is here to stay. Indeed, if Mr. McCurdy and company keep this up, then The Savannah Dramaturgy prophesies that "The Rep" will soon become shorthand and an integral part of the Savannah lexicon.