and John Cheever—might be brash, diva-y, or commanding, or mysterious, or flawed, or bossy, or bitchy and funny and vain, or cruel and outrageous. Or it might show us some fresh, perception-shifting side of Holmes. No, sorry, no shakes. But good news: her knitwear is spectacular.
It occurs when, as one half of the Brooklyn couple in 2015-2017, an allegedly award-winning writer called Abe is, he thinks, surreptitiously striking up an email relationship with Julia. We learn he has improbably won “a Pulitzer and two National Book Awards before turning 30,” which does not correspond to the clichés and gnawingly embarrassing hero worship he indulges in.
His wife Sophie , in a more down-home cardigan than Holmes’ lux ensemble, seems forbearing about this exchange of messages, without appearing to know how deep, flirty and confessional the exchanges have become. One day Abe and Julia are mulling what makes them cheerful—Abe ventures snow days, “Mozart’s overture to the Marriage of Figaro. Anything by Art Garfunkel—I’m a total Garfunkel guy—or Jay-Z. I love Jay-Z.”“Has that ever happened?” asks Abe.
Sadly, it’s only one line and one moment. Otherwise, she and Abe ramble around each other, she with a sing-songy voice to the audience, he with a growingly weird and creepy bluster. The way Abe is written doesn’t seem to be geared to making him appear the grating doofus that transmits to the audience. Sophie recedes and recedes—necessarily, as it turns out—and then when she should not recede at the climax of the play, she is given a far too muted slice of the action.
Source: Entertainment Trends (entertainmenttrends.net)
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