Theater Online - New York Theater Reviews

Primary Stages introduces the newest incarnation of their Inner Voices series, a nifty idea that posits ideal musical theatre performers in a tight, one-woman show of their very own, a practice generally only attributed to plays and monologues. Down this year to only a pair (the last production had three one-acts), they are a completely odd couple duo, one a sentimental memory tuner about a young mom-to-be (Heidi Blickenstaff) addressing her unborn child and unfulfilled dreams as a songwriter; the second-a truly odd duck concerning a strange gypsy lady named Whida Peru (Judith Blazer), who stages a seance in the hopes that her long-gone beau will make a return appearance.

Mosaic, the curtain raiser, begins with Ruth ([title of show]'s sunny Blickenstaff) revisiting her 13 year-old self and longing for her more carefree days (“wait til you see what I am gonna be”) and looking for that One Song Glory (yes, she even invokes the popular tune from Rent). Armed with a Mac laptop, a Diet Coke, and a recent diagnosis of Hodgkin's lymphoma, Ruth makes a video diary to show her unborn child her strength in a time of unease. Or...something like that, as the brief story still seems too deficient of details on Ruth to fully satisfy. Cheri Steinkeller and Georgia Stitt, who wore the various creative hats, contribute a rather tepid score to something that could have been an emotional powerhouse, if only Ruth weren't so sketchily lackadaisical.

Blickenstaff's warmth could replace fires in winter, and her pleasant, unobtrusive singing voice is nicely displayed here, but director Jonathan Butterell (director of both one-acts) doesn't give her much room-literally. Blickenstaff is stuck behind a chair at a desk for the entire piece, and some movement on her part might have weaved nicely with Ruth's inner sensibilities, the crying out of a soul who is frustrated and bottled-up. It, like other flaws in the piece, keep Mosaic from ever really taking off.

The post-intermission musical playlet Whida Peru: Resurrection Tangle takes many more chances, though the results are possibly even more hit or miss. Blazer, a truly forceful performer with a booming singing and speaking voice, claws her way into the title role-an eccentric, lace-clad Madame Arcati-lookalike preparing a festivity complete with candles and balloons, and some re-conjuring business to attend to. When spirits begin to go awry, popping her balloons and chanting and wailing (done in actuality by solo pianist Andy Boroson), Whida begins to go on a tirade of love-fueled regret, in full Anita-Bernardo style stylings (her “yous” become “joos”).

Josh Schmidt's canted, somewhat atonal musical style (put to more exciting use in his contribution to David Cromer's stunning Adding Machine years back) doesn't gel exactly with David Simpatico's book and lyrics-two dark styles seem to be warring it over unnecessarily and Blazer's broad, saucer-eyed portrayal in turn doesn't fit their style either. She comes blooming to life in what one supposes is a musical number called “Fuck You, Juan” (no songs are listed in the program), where she finally exorcises her inner feelings before deciding it's time to let go. It's an intriguingly loony piece, but somehow never manages to transcend its own raggedness.

So here's hoping next year's entries show a little more spunk, as this is a splendid idea in presenting new short works. And with luminaries like Blickenstaff and Blazer adding their talents, there's nowhere to go but up.