Right, pop quiz: what publishing house
is known as FSG? And what’s so great about being retweeted by Jonathan
Lethem? To which you ask me back, what has that got to do with theatre?
Well, if you don’t already know that Farrar, Straus & Giroux are a
prestigious name in contemporary U.S. literary publishing and that
genre-bending Mr L is a big-calibre author in the same field,
playwright Laura Eason isn’t interested in explaining it to you.
It isn’t that
Sex With Strangers
is incomprehensible if its world isn’t also yours; but if it isn’t,
then the play doesn’t really care. Pretty much the entire hour-long
first half consists of its two characters talking literature with each
other... occasionally the Internet, and pretty much every time the
lights fade between scenes they get down to carnal happy fun times, but
for the most part the conversation makes Woody Allen’s cultured
Manhattanites sound like the Royle family.
Olivia tried and failed as a novelist several years ago; she still
writes, but is terrified about showing her work to anyone. On a writing
retreat in a snowbound cottage in Michigan, she’s surprised by Ethan,
who’s a Net sensation for his laddish blog, an exaggerated biography of
his horizontal activities entitled
Sex
With Strangers. But Ethan has serious literary ambitions,
genuinely admires Olivia and flips when she lends him a Marguerite
Duras novel (there we go again). He encourages her to re-enter the
world of publishing, and frankly a couple of times simply throws her in
against her wishes. When things start going her way (in Act Two, set in
Olivia’s Chicago loft apartment), Ethan begins to get professionally
jealous and also to behave more like his blog persona than the
sensitive bloom for whom Olivia keeps falling during each stage
blackout. Can their relationship survive?
Can we care? I’m afraid I couldn’t. It’s not that this world is alien
to me – I’m a theatre critic, darlings – but Eason’s account of it is
introspective enough to be alienating. Director Peter Dubois keeps
things moving fluidly but does nothing to open it up. Emilia Fox is a
fine actor, but that first act just has her as Olivia repeatedly
parroting Ethan’s lines in incredulous questioning (“Parroting in
incredulous questioning?”), so all we hear from her is a series of
vocal whoops. Theo James (best known as the love interest Four in the
Divergent film series) gets a
better deal as Ethan, but he’s so clearly not the viewpoint character
that that’s not enough. And it’s a two-hander, so there’s nobody else –
not even any actual events to speak of – to pique our interest. Not a
page-turner.
Written for The Lady.