Third
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Czuchry, Lahti
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By Melinda Schupmann
As the lights come on, a teacher (Christine Lahti) is facing her class at a tony eastern university. She announces that the students must throw aside all conventional wisdom about Shakespeare’s King Lear and look at his daughters Regan and Goneril as heroines and the third, Cordelia, as a masochistic wimp. “This is a hegemonic-free zone,” she goes on, and it is clear she is in charge and sure of herself.
She then assigns films and readings that are mandatory and dismisses the class.
As the class leaves, a student, Woodson Bull III (Matt Czuchry)—we later learn he likes to be called Third—comes forward and charmingly informs her that he is a wrestler and won’t be able to see the first film. Dripping sarcasm and cynicism, she interrogates him about his family, fitness, and dedication to academia. He seems unruffled by her manner, and exits. Eventually she accuses him of plagiarism, and this accusation is central to the conflict. Wasserstein also throws in a few more problems--aging father, relationship with daughter, alienation from best friend--and it becomes a bit more of a soap opera.
It’s fitting that Lahti is starring in the Geffen’s production of Third, as she was in the Pulitzer-prize winning The Heidi Chronicles,one of Wendy Wasserstein’s most notable works. Now she returns in Wasserstein’s final play before her death in 2006 at age 55. Serving as the voice of intelligent women who embraced feminism but wanted to be able to manage it all—career, romance, and family—she arrives at a time long past Chronicles’ days when she is now embraces a character who is in menopause and struggling with personal issues seemingly known well by Wasserstein.
The play is edgy, with Lahti and Czuchry as almost polar opposites. Director Maria Mileaf might have toned down Lahti’s vitriol in the first scenes, as her eventual softening by the end of the play seems almost impossible to believe from such a caustic character. Czuchry, too, seems a bit affable when confronted by such unfair treatment.
Wasserstein’s works are provocative, even though this is not one of her best. It does, however, address the changing world from her first to last play.
As Nancy, Lahti’s friend and cancer victim, Jayne Brook does fine work. M. Emmet Walsh also has a choice part as Lahti’s aging father. Sarah Drew also acquits herself well as Lahti’s daughter.
Though this is not a perfect production, it is enjoyable to see a good cast going through their paces. Wasserstein has been a feminist icon for years, and she will be sadly missed in the theater community.
Presented at the Geffen Playhouse, 10886 Le Conte Avenue, Los Angeles. Tues-Sun. Closes October 21.
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