San
Francisco Weekly, October
28, 1992
As
irreverent to parents and their pups as the Sisters of Perpetual Indulgence
are to their Catholic sistahs, Christopher Durang's Baby with the Bathwater
is a delightfully nasty deconstruction of the family unit. Curtain rises
to Helen (Judy Phillips) and John (Robert Bertozzi) bent over a white
wicker bassinet in their primary-colored apartment, alternately cooing
to their invisible fledgling and lashing out at each other. In saunters
amoral Nanny (Karen Goldstein), whose Dostoyevsky-twisted motto -- 'There
is no right and wrong, just fun' -- justifies her seduction of the Quaalude/Nyquil-zoned
new papa. Meanwhile, a mysterious woman (Pamela St. Ives), whose German
shepherd has eaten her newborn, pops in to read excerpts from Mommy
Dearest while the resentful Helen goes off to the kitchen 'to work
on my novel and pretend like I live alone.' Not surprisingly, the babe
- christened Daisy and put in a dress until age 15 because his parents
randomly decided he was a she - grows up to have a few problems. After
10 years of therapy, during which he loses the frock and changes his name
numerous times, 'Daisy' (Richard Silberg) finally breaks with his increasingly
insane and drunken parents at a sick yet sad little birthday bash they
throw for him. While highly amusing, this Who's Afraid of Virgina Wolf-shaded
Baby also has some sobering things to say about the institution
of parenthood. A fine effort from director Patrick Dooley and his rock-solid
Shotgun Players.
San
Francisco Bay Guardian,
October 28, 1992
Erika Milvy
"There
is no right and wrong. Everything is permitted,' says Nanny, a sinister
school-marm type who wanders in to the Dingleberry household and begins
giving orders. In Baby with the Bathwater, Christopher Durang's
macabre absurdist play, such things are par for the course. The Shotgun
Players' revival, at La Val's Subterranean, highlights the hysteria and
anarchy in this tale that illustrates the frightening consequences of
people in power.
Helen (Judy Phillips) and John (Robert Bertozzi) are a couple of unpleasant,
thoroughly incompetent new parents who have yet to name their child since
they haven't yet chosen a sex for it. Karen Goldstein steals the show
as Nanny, who seems to be summoned by the angel of child care to assist
these unfit parents. But she turns out to be just as unstrung as everyone
else, seducing the father, screaming at the child, and sleeping between
Helen and John.
The Shotgun Players' spare staging facilitates the mood of absurdism,
leaving room for Durang's vividly bizarre imagery. The child, now called
Daisy, grows up with a penchant for buses. (She hurls herself under them.)
Daisy grows up to be a relatively sane young man in a dress. Yes, he's
a boy. Just one of the many things his parents got wrong. As Daisy, Richard
Silberg provides his own perspective on his childhood, and it is indeed
amusing to learn what the silent baby had been thinking. Durang's play
seems to answer the question of exactly what type of people would throw
the baby out with the bathwater.
East
bay Express, November,
1992
James David Jacobs
This
nightmarish vision of the dangers of family life goes from being an outrageous
farce in the first half to a stinging morality play in the second, as
baby grows up and we witness the dire consequences of bad parenting. But
there's no question that this play is entertaining, provocative and very
funny, and offers some insight into the roots of insanity and the universal
search for approval. It receives a first-rate production here, with imaginative
staging and brilliant comic acting from the entire cast: Karen Goldstein's
portrayal of a nanny as a kind of cross between Satan and Camille Paglia
is worth the price of admission.
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