Marvin's Room

  • Our critic's rating:
    July 11, 2017
    Review by:
    Massimo Iacoboni

    Certainly there is no scarcity of new plays about death and dying this season on the New York stage. Owing to both young and established playwrights, the subject continues to be explored in increasingly innovative and sometimes even unorthodox ways, such as in Branden Jacob-Jenkins’ thrillingly inventive Everybody, or in the absorbingly meditative tragicomedy Wakey Wakey, by Will Eno.

    Unlike these recent offerings, Marvin’s Room, written in 1990 by Scott McPherson, is a rather conventional play with a rather conventional structure. While it may have augured well for its creator, who died in 1992 at age 33 after receiving several major awards, it seems to have lost much of its vigor in the intervening decades.

    Bessie (Lili Taylor) is Marvin’s selfless daughter, a saint-like figure who has devoted her entire existence to caring for her dying father, bedridden and on the point of death for now almost two decades. She’s also had to endure a double whammy in the form of Ruth (the wonderful Celia Weston), Marvin’s soap-opera addicted, aging sister who herself struggles with a host of physical ailments. Ruth is sweet, hapless and very needy, and fails to be of any help to Bessie, even when asked to perform the most basic tasks.

    But there is no limit, evidently, to Bessie’s selflessness, who endures every awful hurdle set on her course with such unparalleled grace she would compare favorably even against Mother Theresa. In an effort to lighten the mood permeating this somber background, McPherson chose to introduce a certain amount of levity into the proceedings, most notably in Ruth’s character, whose electrical implants, designed to alleviate her disabling back pain, also keep opening and closing the garage door every time she switches them on. Her ineptitude is matched by the family doctor, who often misplaces his instruments or can’t recall their names, and swats cockroaches with magazines he then offers to Bessie as reading material.

    While the writer’s choice to introduce mildly comedic elements is commendable, this production, directed by the otherwise extremely talented Anne Kauffman (Marjorie Prime, A Life) jarringly turns these moments into incongruous variety skits, ostensibly aiming to achieve cackles where quiet chuckles would have been more appropriate.

    McPherson – who was a stage performer before turning to writing – came of age, artistically, during the AIDS epidemic, performing in a Chicago production of The Normal Heart in the early ’80s and eventually caring for his dying partner while having been diagnosed himself with AIDS. The harrowing background of the epidemic, as well as his own traumatic personal experience, weigh heavily on the play and in Bessie’s character, who we soon learn is struggling with leukemia. The caretaker is dying: it is the kind of sledgehammer turn of events that could push most plots into mawkish territory if not expertly handled, and unfortunately this production makes such a studied effort to avoid any emotional overindulgence that it turns the play into a rather bland effort.

    In particular, the relationship between Bessie and her estranged sister, Lee (Janeane Garofalo) rings especially hollow. The opposite of Bessie, Lee is a self-absorbed, egotistical mother of two who long ago decided not to waste her life caring for Marvin. She is back in town to get tested, along with her two kids, as a possible donor for a bone marrow transplant for Bessie. In spite of the subject’s intensity, no exchange between the two sisters ever achieves much emotional resonance. There appears to be no chemistry between the two actors, and their dialogue, as rife with repressed resentment and misplaced guilt as any dialogue could be, is delivered with such understatement to render the feelings we are meant to recognize, and respond to, almost inconsequential.

    Surprisingly, it is with the second youngest actor in the cast that this production achieves its most poignant moments. Hank (Jack DiFalco) is Lee’s troubled son, temporarily out of the mental institution where he has been confined since setting fire to his own house. He desperately craves Lee’s love and attention, which she steadfastly withholds, much as she withheld love and support from the rest of her family for the past 17 years. It is in the scenes in which Hank interacts with Lee and, separately, with Bessie, that we finally manage to connect more deeply with the drama’s characters and their plight.

    Marvin, confined to his room and out of sight for the entire length of the play, is still alive when the curtain drops.

    (Massimo Iacoboni)

    "Are we grimmer or dumber or colder than we were in 1991, when Frank Rich, in The New York Times, called Scott McPherson’s “Marvin’s Room” “one of the funniest plays of this year as well as one of the wisest and most moving”? He did so even while noting that this “healing” comedy, then opening Off Broadway, featured three major characters dying or disintegrating — and a bunch of others arguably worse off. I ask because the Roundabout Theater Company revival that opened on Thursday, giving the play its Broadway debut, barely seems to be any of the things Mr. Rich listed. Thoughtfully directed by Anne Kauffman; keenly performed by Lili Taylor, Janeane Garofalo and especially Celia Weston; a pleasure to watch throughout — it is all of these. But it is somehow, also, fatally mild."
    Jesse Green for New York Times

    "While the acting is fine, the comedic elements of the story about the intertwining of life and death sometimes feel forced."
    Joe Dziemianowicz for New York Daily News

    "Anne Kauffman’s luminous revival for the Roundabout tends to McPherson’s legacy with grace. She plays down the wildness of the humor, and the first act leans toward placidity. This strategy pays off later, however, as Taylor’s performance—gently weird, shadowed with defeat—takes bloom. Without pushing its virtue too hard, the play movingly depicts a world in which loving others is, as it often has to be, its own reward."
    Adam Feldman for Time Out New York

    "This is not a morbid play; it's a very human one, told with humor, resignation, and greats gobs of empathy."
    Roma Torre for NY1

    "Marvin's Room, for all its warmly humanistic strengths, is very much a work of its time, and the director seems unable to connect with its particular wavelength, or to navigate its relatively straightforward blueprint. The abundance of quirks feels forced when it demands a lighter touch; the emotional exchanges are flat, their intimacy suffocated in space; the pacing is sluggish; the rhythms halting and inconsistent; and the design choices are cold and ugly."
    David Rooney for Hollywood Reporter

    "It’s a good play. Honestly, it’s a good play. No, I really mean it. This mantra, or something like it, is necessary to keep your faith in “Marvin’s Room,” the mordantly funny play about life and love and death that writer Scott McPherson lived to see premiere at Chicago’s Goodman Theater in 1990, two years before he died of AIDS at the age of 33. Despite decent performances, this lugubrious Broadway revival directed by Anne Kauffman for the Roundabout does his dark comedy no favors."
    Marilyn Stasio for Variety

    External links to full reviews from popular press...

    New York Times - New York Daily News - Time Out - Hollywood Reporter - Variety