LOVE, LOSS, AND WHAT I WORE by Nora and Delia Ephron, adapted from the book by Ilene Beckerman, directed by Karen Carpenter. Presented by Michael Rubinoff in association with Daryl Roth at the Panasonic (651 Yonge). To September 4 (cast changes August 10). $35-$65. 416-872-1212. See Continuing. Rating: NNN
Be careful what you wear to Love, Loss, And What I Wore. After the show you’ll examine your wardrobe – and quite possibly your life – very differently.
Writers Nora and Delia Ephron use Ilene Beckerman’s picture-filled book of autobiographical reminiscences about clothing as a springboard for dozens of stories connecting fashion and women’s lives.
The Ephron sisters are the poets laureate of a certain kind of urban, upper-middle class, middle-aged female experience and, judging from the laughter and groans of recognition in the audience, many stories resonate in the same way that their novels, movies and essays do. In fact, a few pieces – about turtlenecks or flabby arms – could be outtakes from Nora’s recent book I Feel Bad About My Neck.
The Canadian premiere of the New York stage hit has been cast with some of our biggest dramatic, musical and comic talents, all decked out in black (the subject of yet another piece). Stage right, Louise Pitre’s Beckerman figure narrates, recount ing her life – broken home, young mar riage, divorce, remarriage and affair – via a series of drawings. To Pitre’s left, the others read from their scripts and occasionally chime in like a chorus.
As with any such show, the monologues are uneven. A couple of stories don’t quite work, and there’s a nasty classist whiff about the whole enterprise.
A sequence about sexy boots that segues into a rape memory is awkwardly directed (by Karen Carpenter) and performed (by Paula Brancati). A group piece about dressing like Madonna feels patronizing and tacked on.
But while there are the requisite odes to first bras, prom dresses and the style vs. function shoe debate, a sequence about wedding dresses (told beautifully by Sharron Matthews and Brancati) travels to unexpected places, and Mary Walsh delivers a moving monologue about a mastectomy survivor’s changed feelings about her bra size.
The best moments belong to Andrea Martin, who is placed centre stage and uses every part of her body and voice to maximum effect, whe ther it’s recounting a bittersweet story about losing a favourite shirt – the script’s high point – or comically digging into the problems of finding the right purse.[rssbreak]
glenns@nowtoronto.com
