Word: ed
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Dates: during 1990-1999
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...husband Ian, who claims he's a vampire and promptly bites her on the neck. Then C.C. tells her sister-in-law Pat, who doesn't really listen because she's too busy freaking out that her 13-year-old daughter Zivia has run away from home. Ed, Pat's redneck husband, is still mad at Ian, his brother, because Ian gave Ed's new play a bad review and caused an actor to commit suicide. Zivia, however, has become a heroin addict and enjoys dancing wildly to "I Put a Spell on You" by Screamin' Jay Hawkins. C.C. calls...
...Celeste Finn, brings little life to the introductory scenes. She sticks out of her dysfunctional family like a mannequin amidst real flesh-and-blood people. Perhaps the most refreshingly honest moment in all of Act I comes when she turns to her former-lover-turned-brother-in-law Ed, who is begging her to star in his play, and admits, "I really can't act, Ed." Sometimes honesty is the best policy after...
...that Pat's husband Ed (Erik Amblad) can't seem to muster up genuinely powerful emotions. In a play running at normal speed, he's still stuck moving in 33 RPM. The only real life he shows in all of the first act appears when Pat gives him an overzealous shoulder massage, making him bounce up and down on the couch during his monotonous monologue. What a pity that the life he possesses in this scene is drawn entirely from another person's action...
...different note, Pat and Ed's daughter Zivia--Samara Levenstein at her wide-eyed and solitary-moshing best--adds a delightfully original flavor to the show. With her crazy mop of red hair, her rich commanding speaking voice and her strictly Allston Beat wardrobe, Zivia shoots looks as darkly and announces religious comings as coldly as any typical 13-year-old heroin addict...
...first half of the play belongs completely and solely to Ian. As Padraic O'Reilly dances and prances around the stage, whirling past the sputtering Ed and twirling around the nervous Pat, the audience is often brought to laughter from his cartoon-like demeanor. How could this play be anything but a comedy with someone so blatantly melodramatic, whose wit is even sharper than his bite? More importantly, how could he NOT be a vampire, since he shines with energy and vicious vivaciousness as several of his human counterparts struggle to keep their own pulses going...