THE BASICS: THE TREASURER, a play by Max Posner, directed by Saul Elkin, starring David Lundy, Darleen Pickering Hummert, John Kreuzer, Alex Watts, (and Jessie Miller) presented by the Jewish Repertory Theatre opened (after a snowstorm delay) February 5 and it runs through February 27, Thursdays at 7:30, Saturdays at 3:30 and 7:30, Sundays at 2:00 (no performances Fridays). The JRT is located inside the Jewish Community Center, 2640 N Forest Rd, Getzville, NY 14068. www.jccbuffalo.org/jrt (716-688-4033). Runtime: 90 minutes without intermission.
THUMBNAIL SKETCH: This dark comedy reveals the deep fault lines between an estranged son and his aging mother who is showing more and more signs of dementia. Never the most attentive mother, she actually ran out on the family when “The Son” (the youngest of three brothers) was only thirteen, but now her second husband is dead, and “Ida Armstrong” has run out of money. She seems incapable of changing her ways. And she is showing signs of dementia. So, with the urging of his brothers (heard only on the telephone) “The Son” reluctantly becomes “The Treasurer” – responsible for paying her bills – as he struggles between his deep resentment of his mother and what he considers his filial duty.
THE PLAYERS, THE PLAY, AND THE PRODUCTION: Like crocuses poking their heads above the snow, there have been some bright spots of theater during this long Covid winter of discontent. JRT’s THE TREASURER is one of those first-rate productions for which we’ve been patiently waiting.
The cast is up for the task, with David Lundy as “The Son” playing against Darleen Pickering-Hummert as the self-absorbed Ida. The utility players included Norm Kruezer as “Male Actor” portraying various characters who interact with Ida. Alexandria Watts as “Female Actor” plays, among others, an airline passenger bringing out “The Son’s” lighter side, and also a very sympathetic clerk in a Talbot’s clothing store. Kreuzer and Watts masterfully create the scenes with minimal props and minimal set up. What props there are (a chair here, a table there) are seamlessly provided by stage hand Jessie Miller in a continuing theatrical dance. And none of this would work without the lighting design of Brian Cavanagh, who in one “show off” moment created an onstage elevator using only lights. Very impressive.
Director Saul Elkin (and Assistant Director Steve Vaughan) had the pacing down perfectly. Dementia is a cruel disease, slowly robbing not only the victim of her agency, but with its ups and downs, it’s incredibly frustrating for the family. I know this. My mom had it. So, this play had to have the slow and steady drip, drip, drip of Ida’s former life leaving her more isolated and afraid, but also the emotional flare ups and following cool downs of “The Son” dealing with this exasperating situation. How do you pace a play with those two competing elements? Brilliantly, if you’re Saul Elkin.
For me the most revealing scene of all takes place in a Chinese restaurant. The set (by David Dwyer) slowly materializes in front of our eyes by Jessie Miller and John Kreuzer (as the waiter in a spot-on costume by Kari Drozd) with ambient music courtesy of Tom Makar. Slowly, slowly the table is set; The Son and Ida eat almost in silence, and slowly, slowly the table is cleared. If that sounds “boring,” trust me, it’s quite the opposite. It’s riveting.
I thought that the entire play was condensed into that scene. And what makes it work is the slow, slow, deliberate pacing. Similar to another play, Samuel Beckett’s WAITING FOR GODOT, it seemed as if both Ida and her son are waiting for something, in this play perhaps changes in behavior or attitude or perhaps frank conversation and possibly forgiveness, or perhaps just death. But something that isn’t going to come today. And probably not tomorrow either.
David Lundy is no stranger to small cast productions. Most recently he was in a two-hander at the Kavinoky Theatre – THE WOMAN IN BLACK playing opposite Peter Horn in a variety of roles. And he was also seen in a reprise of his one-man show about President Harry Truman titled GIVE ‘EM HELL, HARRY. His tight frame and trademark intense stare speak to large emotions just bubbling below the surface. You don’t need a lot of other actors around when Lundy is on stage.
Darleen Pickering Hummert is also a Buffalo treasure and of late has played a number of sweet old ladies. What makes her character work here is not being “I have always depended on the kindness of strangers” dotty, but in hanging on to the manipulative, slightly sociopathic, certainly selfish woman that is slowly disappearing. When she wants to make a $3,000 donation to the symphony to have her name in the program, or to buy two pillows for $1,400 or a new iPhone because she can’t find the fifteen or so friends’ phone numbers on her current cellphone, it’s the son who is expected to pay for these extravagances, as if responding to a royal command.
So, it’s not a one-sided portrayal of either party. Which makes it all the more “real.” And all the more not to be missed.
Lead image: David Lundy as The Son and Darleen Pickering Hummert as Ida have a maddening phone conversation | Photo by Jim Mahjoubian
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!