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Rather than a relaxed, chatty host, he is edgy, unable to settle, coming too close to the camera and talking too loud-acting, in other words, like the nutter on the bus you want to move away from. It is apparent Dennis Elkins is not in a good frame of mind. Actually, far from being conventional comedy, Are You Boxed In, Mr. This sounds like the default setting of an observational comedian, inviting an audience to share his simulated bemusement at life’s little irritations.
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He agonises about how we follow the poor example of our parents and accumulate so many unnecessary items or become incapable of throwing away unwanted gifts for fear of offending the giver. Anything to Declare, Mr Dennis? described his late-life decision to make an extended trip to India, The theme re-occurs in the follow-up Are You Boxed In, Mr Dennis? but this is travel undertaken out of necessity rather than for pleasure and there is a notably darker tone to this monologue.Įlkins ponders the puzzling frequency with which we use boxes: to pack up the belongings of a deceased parent or to move to a new house after a divorce. Winkles, as the callous Fullerton, perennially skating on the edge of scandal, is spot on with his irresistible pursuit of his prey and his subsequent dismissal of her, but he too, remains two-dimensional.Travel was the theme of Dennis Elkins’s previous monologue. Newhouse captures the girlish pleasure of being desired, and at one point shows empathy by awkwardly inviting Posy to join her on the couch, but Undeland never develops the moment, nor does she allow Wharton to show that she has been changed by the love affair. Despite Newhouse’s talent at revealing both Wharton’s vulnerable side and her haughtiness, the character remains aloof. With a monologue directed to the audience about opportunities available to young Irish emigres and another to Wharton about the man Posy gave up to go into service, Undeland seems to want to make allies out of two women divided by class. Hayes’s balance of perkiness and determination wins our affection, but we’re not sure exactly what we’re rooting for. While keenly aware she serves at the whim of her employer, Posy is emboldened by her knowledge of Wharton’s secrets and occasionally oversteps in her efforts to protect her from certain heartbreak. Posy relishes her responsibility for organizing Wharton’s daily pages, treasuring her role as the first reader of the writer’s stories of love thwarted by the expectations of class and society. In an enjoyably exuberant performance, Hayes infuses life into this personal maid. With Posy as her narrator, Undeland stays at arm’s length from her character’s emotions. Is it the three-year affair Wharton had with the charming but manipulative con man, eager to add the novelist to his list of conquests? Is it the emotional devastation his betrayal caused after introducing her to sexual pleasure two decades into her loveless marriage? Is it the possibility that the doomed love affair inspired the heartbreak of her novel “Ethan Frome”? Is Wharton fundamentally changed by her experience and newly values her loyal friends? Undeland offers several fascinating possibilities, but never quite weaves any of the threads together in a coherent way. Addressing the audience directly, Posy asks if we can keep a secret, but what follows never feels quite as conspiratorial as we are led to believe.
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Fullerton, Between the Sheets.”Īlthough the play opens in a hotel room where Wharton (Sarah Newhouse) has been enjoying the lovemaking skill of Morton Fullerton (Ryan Winkles), Undeland shifts our attention to Posy (Bridgette Hayes), the writer’s personal maid, who becomes the story’s narrator. So the discovery of letters chronicling Wharton’s own steamy affair provides playwright Anne Undeland with a ready-made dramatic frame for “Mr. Novelist Edith Wharton wryly chronicled her Gilded Age, one ruled by male money, female modesty, and a sharply defined moral code.