The new Broadway season begins with this two-character play from Jen Silverman who is a “they/them” playwright, novelist, and screenwriter; and they seems to have had productions everywhere except in New York. But now at long last they can include the Booth Theatre on Broadway as a home for their writings. The Roommate is not really a play; it is more a ninety-five minute one act series of scenes in which two characters have long conversations beginning when one answers an ad and claims the role that gives this play its title.
Mia Farrow is the owner of the very simple small house in Iowa City that she wants to share, and though Patti LuPone as applicant is old enough to be her mother, she is accepted; and we are invited to listen in on conversations the two of them have in the many years that bring us to the present.There are no peaks and valleys along their way. We know the years are passing by the changes in costumes and by the references to outside activities in their exchanges.The playwright has a keen sense for the backgrounds and beginnings–each very different–of both women.
The evening is saved by the most amazing work done by the two actresses. Mia Farrow made her debut in 1963 off Broadway in a revival of The Importance of Being Earnest, but her first lead role was in the film Rosemary’s Baby where her performance won her a Golden Globe nomination. She then worked extensively in London where she became the first American actor ever to join the Royal Shakespeare Company. She then returned to America and had herself a hit on Broadway with Bernard Slade’s Romantic Comedy. Time magazine In 2008 named her one of the most influential people in the world. Patti LuPone’s credits are equally impressive, and her’s include a great number of memorable musicals in which she showed great range with a powerful voice.
I wish I could tell you that The Roommate is worthy of them. Jack O’Brien has staged it resourcefully, and costume designer Bob Crowley’s clothing adds much to the production. Though Silverman has great facility with dialogue, it fails to sustain us over the long haul because it deals only with the small issues of daily life, and I had the feeling I was merely eavesdropping on some private and personal small talk. Yes, the two actresses found ways to offer us subtle and ample grunts, groans, giggles, and facial tics to keep us involved. But they were the actors speaking, not the playwright.
It will be interesting to discover if this minor play can appeal to a large enough fan base to ensure it a place in the Western canon. Meanwhile, I recommend you have a rich time with these two very gifted acting artists.