by Jeff Grygny
“After a week, marriage and fish both start to stink.” This proverb is attributed to absolutely nobody—but its sentiment would agree with most of the love-strangled characters in Michael Hollinger’s tart comedy Red Herring, now playing in a handsome production by Next Act Theatre. The script is an impressive puzzle box of intermeshing plots and motifs. Folks who enjoy complex mysteries and wry reflections on the married state will be well-entertained by this densely-packed spoof.
Hollinger juggles an odd assortment of objects: set during America’s “Red Scare” era and featuring three couples who are all hiding secrets, the play lampoons 50s gender norms and cold war politics, negotiates multiple intrigues, both personal and global, while also exploring the institution of marriage from several perspectives, from dewy-eyed to embittered, all in a dockside setting of commercial fishery. It’s a boatload of material for any troupe to navigate, but the cast of skilled comic actors pulls it off with confidence and honesty. often playing multiple characters.
The youngest of the three couples, soon to enter into wedlock (with a little prenuptial hanky panky) are the improbably-matched daughter of commie-phobic Wisconsin Senator Joe McCarthy, and an idealistic physicist who is planning to pass the secret of the hydrogen bomb to the Russians. Eva Nimmer and Zach Thomas Woods, in a pitch of lust and high anxiety, sympathetically show us the extremes that people will go for love and principle.
On the other end of the spectrum are Mary MacDonald Kerr and Dylan Bolin as a pair of seasoned cops with heartache in their pasts, gingerly walking the tightrope between the call of duty and the yearning for happiness. Finally, we have a couple who have ridden the merry-go-round of life a few times, played by Kelly Doherty and Bo Johnson, who are both driven by mutual need to ludicrous extremities of deception.
As Detective Maggie Pelletier, MacDonald Kerr is the play’s clear hero, tracking her quarry and her relationship troubles with equal determination, while Nimmer, as the Senator’s daughter, gives a warm portrait of a girl torn between her parents’ hollow values and the man she loves. The two actresses share the play’s funniest moments with Johnson, whose world-weary Russian fisherman brings the comedy of heartbreak to a fulsome peak.
Director David Cecsarini has followed the maxim that humor should come from a real place, not just shallow clowning. He’s crammed the production with so much material—period music, high-definition scenery, and topical film clips— that the show’s comic brew loses some of its froth over its two-and-a half-hour run time (including intermission). Only the hilarious final act achieves full farcical escape velocity. Of course, in the end, love wins the day, as it does in all good comedies of marriage.
With its quirky twists, meaty characters, and a good-looking, talented cast, Red Herring is a tangy, salty dish as nutritious as a plate of Ma Baensch’s pickled best.
Next Act Theatre presents
by Michael Hollinger
playing through December 19