The Roommate
Jen Silverman’s The Roommate, directed by Jack O’Brien, turns into a delightful vehicle for the incontrovertible talent and stature of Mia Farrow and Patti Lupone. The extraordinary nature of the nightly comedic showing at the Booth Theatre rests entirely on the head and shoulders of the actresses and director. Friends, legends, good-natured opposites, the cleverly unassuming Farrow and spicy Lupone ignite the evening memorably. From the first moment they arrive for applause, leave to return in character, to the end when they take their bows, they exchange one glory for another. Zipping into the skins of Sharon (Farrow) and Robyn (Lupone), and establishing a unique relationship between two “women of a certain age,” Farrow and Lupone sock it out of the ballpark. Currently at the Booth Theatre, The Roommate closes December 15th.
With reverent understanding of Broadway’s financial “insolvency,” and resulting high ticket prices to “compensate,” this two-hander gives good value. The two icons display their organic brilliance portraying individuals from different walks of life. Because Sharon, recently divorced, needs extra money for her lifestyle in Iowa City, Iowa, she advertises for a roommate. Because Robyn needs to get a way from the Bronx in order to reconcile issues with her life and daughter Amanda, she applies.
The Roommate sports laughs which Farrow and Lupone easily find
From the top of the play when Robyn unloads boxes to their first sit-down interaction, the actors settle us into their characters and tropes. We note their extremes in dress, Sharon in loose-fitting flannel, Robyn in leather jacket and tights. As for their hair, wig and makeup (Robet Pickens & Katie Gell), Sharon’s innocent, sweet pigtails speak volumes as it mirrors her quirky, ditsy demeanor. On the other hand, Robyn’s leather denotes a sharp, edgy toughness, most probably honed on the streets of New York. Along with her unadulterated conventionality and wholesomeness Farrow’s Sharon wears no heightened, heavy makeup. Robyn does. And of course, the citified Robyn, eats no meat or meat products as a vegan.
When Sharon discovers this, an irony considering Iowa is the largest producer of feed corn and boasts 148 meat processing plants, the New York audience laughs. However, moving to another level, the clue indicates Robyn selected this location without much concern for the state’s function. After settling that Robyn brought her own cookware to prevent any meat contamination, they get down to the nitty gritty. Sharon’s son comes up in conversation, and she surprisingly shares that he gives a gay impression. Then Robyn admits her identification as lesbian.
Lupone and Farrow smoothly charge into the comedy
At this point, Lupone and Farrow take the bit by the horse and charge into the comedy of personality differences. Any thread of conservatism that Sharon clings to slowly unravels as Robyn tugs at Sharon’s staid lifestyle and upends it. By degrees, with openness and freedom Robyn, who grows pot on the kitchen windowsill, initially unbeknownst to Sharon, rolls joints. When she smokes them, (Robyn lied about not being a smoker), the curious Sharon joins her. Souped up to hyper-drive by Robyn’s companionable friendship, eventually, Sharon rolls her own and expands into a business with laced brownies that she sells to her book club.
These tenuous acts reveal a fascinating reversal. Street-wise Robyn influences Sharon who, like a sponge, soaks up this new way of being. In helping Sharon throw off her “dead-end” ways, Robyn encourages her to go on a date. Sharon hungrily follows Robyn’s suggestions. Ready for what she has yet to experience, she jumps in with each novel adventure. Unleashed and going full bore into law-breaking, Sharon experiences fun for the first time in a reinvention of herself.
Robyn enjoys leading her astray. By degrees, we and Sharon discover Robyn’s past embraced a life of pernicious crime scamming older people. Instead of being horrified, Sharon, thrilled, expresses an interest in following her example. With curiosity, she asks Robyn to teach her the scammer’s arts. Farrow and Lupone juggle these various events with aplomb as we follow for the roller-coaster hilarity. Both are terrific as they play off one another. How their fun and Sharon’s warmth impact Robyn to reinvent herself, clarifies at the conclusion.
In The Roommate the characters reverse roles
Both illuminate their trust for each other. Farrow’s Sharon reveals within every conservative, traditional female beats the heart of a criminal wanton. Sharon proves a natural in emulating her “mentor” and innovating greater ways to con the unsuspecting. Robyn develops a conscience. Concerned that Sharon has gone too far when she shares her plan for tweens to sell pot, she calls Sharon out. Likewise, when Sharon purchases something over the top (no spoiler, sorry), Robyn has a fit and tells her to take it back. Robyn cares deeply for Sharon and vice-versa. However, the line has to be drawn. And with one response, Robyn draws it and sends their warm relationship spinning off into the starry night.
With Jack O’brien’s fine direction and pacing, the humor lands with authenticity. The ending is poignant and reminds us of the importance of connection, friendship, and pushing the boundaries, especially as we age.
You will just have to get tickets to fill in the gaps I’ve left throughout this review which heartily recommends seeing these greats in action. With a sea change happening in the AI entertainment industry, a night inhabiting the same space with Farrow and Lupone is a gifted treasure. Most probably, such a showing won’t happen again. However, take note. It would be awesome if it did.
The Roommate runs 90 minutes with no intermission at the Booth Theatre, 222 West 45th Street. https://theroommatebway.com/?gad_source=1
The post Theater Review (Broadway): ‘The Roommate,’ a Must-See With Mia Farrow and Patti Lupone appeared first on Blogcritics.