Review by Moyra J. Bligh

This is a delightful comedy with a dark side written by Dmitry Lipkin a young Russian/American playwright, with the good sense to write about what he knows. It's a multi-layered piece that starts slowly and builds as the skeletons come out of the closets and the secrets are revealed. The ending is ambiguous and enigmatic and like so many situations in real life provides no good solution to the problems the characters have with each other and their lives.

The play takes place in the house (I would hesitate to describe it as a home), of "Tanya and Dima Savinich" in Metairie, Louisiana in February of 1987. A Russian/Jewish couple who emigrated some six years earlier, they are throwing a housewarming/Mardi Gras party to celebrate their moving into this posh suburb of New Orleans and to impress friends both old and new. The party theme facilitates the use of some interesting costumes as the characters attempt to become who they are not. "Mr. Savinich" is no more a lion than his wife is, as she pointedly tells people, "Athena, Roman Queen, goddess of love", and their daughter "Lily's" costume is only part of her attempt to escape into her fantasy world. The young man of the piece fittingly remains uncostumed, as he seems to be the only one of the group who knows who he really is and where he is going in life.

"Tanya", is unquestionably the ruler of all she surveys and the character who makes this little world revolve. Almost everything that goes on hangs on something she says or something that she's done in the past. As much as she tries to deny it, "Tanya" is a bitch. She's a ball breaker with her husband, and horribly, destructively. emotionally abusive with her daughter, who she just wants to be "normal". She'll stop at nothing to get what she wants, which considering her upbringing, a poor Russian girl living in a one-room flat with a horde of relatives, is probably not surprising. There are moments when I'd just love to smack this woman upside the head, and I certainly wouldn't want her as a friend. She is also, as her former friend "Sophia" describes her at one point, "a vulgar woman, living in a vulgar house". She looks beautiful, but it's all veneer.

Mira plays "Tanya" beautifully, hitting all the high notes and the nuances with equal grace. She's very believable as the bitch, and yet shows you at certain points the hurt inner-child of her character. The opening minutes of the play are "Tanya" alone on stage setting up for the arrival of her former friends, and before she ever opens her mouth you know volumes about this character, demonstrating Mira's marvelous talent for conveying ideas and characterization without the need for dialogue. The opening and closing scenes of the second act (as well as a few other select moments) are played with "Tanya" offstage delivering quite significant monologues, addressed at the character on stage. Not an easy thing for an actress to do, let alone do well, as you have virtually nothing to play off and nothing to use but your voice, but Mira handles it superbly. Ms. Furlan also puts to good use her impeccable comedic timing throughout this entire performance.

"Tanya's" husband "Dima", is a chameleon like character who is what the world wants him to be at any given moment. He's a decidedly indecisive character with no strong ideas of his own, who rolls with the punches and lets himself be utterly dominated by his wife. He explains at one point that he has always gotten by on party lines, and that he has since emigrating to the US, simply switched parties. He just wants to be accepted. Played with deprecating humor and in a style that's quite often low-key by Josh Mostel, he's the perfect counterpoint to Mira's mostly high energy "Tanya"'.

Amy Whitehouse, does a lovely job as the "Savinich's" emotionally tortured daughter "Lily". She's terrified of her mother and obviously much more comfortable with her father, but he isn't much help against Mom's steamroller personality. "Lily" like a lot of teenagers doesn't yet know who she really is, and that is not at all helped by her mother trying to make her into something she really isn't. So she stays in her room and reads and retreats further and further into her fantasy world.

Their former friends from Russia who emigrated a little before "Tanya" and "Dimi" appear to be a better adjusted group. "Sophia", a concert pianist in her former life in Russian is now attempting to live her dreams through her son "Alex" who has been accepted to Julliard on a full scholarship, however, this seems to be her only illusion. "Alex" has other ideas, he intends to use this scholarship as a stepping stone to what he wants to do, a little ska infused and some basic garage shit. "Sophia" is well played by Laura Esterman, whose facial and body reactions are masterful and Amir Sajadi brings a wonderful normalcy to the cast in the role of "Alex".

"Sophia's" husband "Edik", is a man who is a brilliant engineer, but unlike "Dimi" not at all good at office politics. He's a bit of a lush at parties, and proceeds to get quite drunk at this one. "Edik" has some of the best lines in the show and David Margulies delivers them beautifully, his timing is superb.

The set for this piece is split into three areas, "Lily's" bedroom to the left, the living room backed by the entrance way in the center and the breakfast nook on the right. This allows for action in more than one place in the house at at time. It's a device that's used but not overdone, and leads to some interesting moments, such as one near the end of the first act when "Tanya" is unmercifully browbeating "Lily" in the bedroom, while "Edik" is calmly trying to pick the lock on the liquor cabinet with his gold card.

This piece also says a lot about the American lifestyle. The irony of the liquor cabinet being locked, although the gun cabinet isn't. And that comes into play at the end.