A.R. Gurney's satiric, self-referential new play doesn't fullfill its promise.
Alice (Tina Benko) is a drama teacher at the aforementioned university, who is asked by one of her students, Dexter (Christopher Kromer), to direct his senior thesis. His topic: a little-known late 20th-century/early 21st-century playwright by the name of A.R. Gurney. The playwright uses this premise as a playful way to poke fun at his own reputation, as well as critical reaction to his work. In the play, Dexter has discovered that Gurney's final epic masterpiece, also entitled Post Mortem, was never produced and that the playwright himself died under mysterious circumstances.
The second scene of this intermissionless show jumps several more years into the future, as university student Betsy (Shannon Burkett) hosts a Q & A with Alice and Dexter. Political circumstances have changed dramatically -- apparently, all due to the duo's work on the lost Gurney play, which has "brought about peace among nations, and universal health care, and convenient public transportation, and an equitable tax system."
Obviously, Gurney's tongue is planted firmly in his cheek. And yet, his play still comes across as rather self-indulgent. The playwright takes easy jabs at conservatives and the religious right. Dick Cheney is the butt of many a joke (as well as a primary suspect in Gurney's supposed murder). And while there's nothing inherently wrong with such partisan humor, there's a cloying sensibility in the work that is off-putting, even if you agree with Gurney's assessment of contemporary politics. The most intriguing aspect of the play comes late in the show, as Alice ponders the one question that Gurney's fictional masterpiece did not address: How are we to live? It's only here that the playwright wrestles with more substantial ideas, but it's a little too little, too late.
Director Jim Simpson, the Flea's artistic director and Gurney's frequent collaborator, keeps the tone of the play fairly light throughout. The first scene features nearly farcical performances from Benko and Kromer, while the second scene keeps a sense of whimsy but adds a little more gravitas, particularly in Benko's work. The actress is especially impressive in her impassioned speeches towards the play's end. Kromer exudes a boyish charm that suits Dexter well. Burkett, meanwhile, fully mines the humor of her somewhat ditzy character, particularly in a lengthy monologue about the social implications of cell phone usage.