Word: haahr
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...opening scene, the gentility of Willum Cubbert's (Colin Stokes) life is established. He runs with a geriatric set, Axl (Michael Schur) and Tansy (Marit Haahr), who jokingly refer to their crustiness between cocktails. So perfect are Axl and Tansy's sentences that they practically speak in rhyming couplets. Their straightlaced and ordinary lives need shaking up; on this day, Willum's birthday, they get what they need...
...cause of Danny's distress is one Sister Meredith Louise, nee Meredith O'Connor (Marit Haahr), a former classmate from St. Patrick's Grammar School and the woman of his dreams. The seeming coincidence of their encounter is belied by Meredith's suspicious behavior, her intrusive questions (prepared beforehand on index cards) and her subsequent attempt to seduce Danny--actions ill-befitting a nun. Haahr is best when she play light-heartedly with her role, delightfully mixing sarcasm and naivete, seductiveness and innocence. Her dizzy ramblings and confused fumbling with her ever-present index cards are endearing...
...plant seems to call for a dream-like surrealism to explain away the improbable series of events, and this is lacking in this production. At many points, Haahr ceases to be lovable and becomes merely annoying. Selig and Haahr spend too much time wandering around the set with no apparent purpose, screaming their lines at each other in an excited shriek. Both characters often seem to be engaged less in witty verbal sparring than in shrewish quarreling. The fault here lies with director Alexander Franklin and Elisabeth Mayer, who seem to lose control of the play's pace. The dialogue...
...play works best on the level of frantic comedy. Here, the high level of tension succeeds in its task. Both Selig and Haahr have an excellent sense of comedic timing, and play off each other well. They successfully embody "typical" Boston Catholics, and then gently poke fun at these same stereotypes...
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