The remarkable Charles Busch has concocted yet another fable with his latest offering, The Third Story, in which he also doubles in two of the major roles. This prolific playwright, noted for past triumphs such as Broadway's The Tale of the Allergist's Wife and Vampire Lesbians of Sodom, one of the longest-running plays in Off-Broadway history (five-year run), here presents a complex, and hilarious, story of a mother and son screenwriting team and their creative struggles.
Peg (Kathleen Turner) and her son Drew (Jonathan Walker) have fled 1940s Commie-obsessed Hollywood to, of all places, Omaha, Nebraska, where they wish, hopefully, to turn out a viable script. In between their creative struggles, they deal with who Drew's father actually is - Is he a postman delivering mail in Omaha, or someone possibly more glamorous from Peg's Hollywood days? While the pair deal with this and other domestic difficulties, various characters and situations they imagine fill the stage.
There is the B-movie queen, Queenie Bartlett, played by Mr. Busch himself, who parades about in full purple-garbed satin regalia, presenting a glamorous figure replete with wavy red wig. Queenie, threatened by underworld characters, enlists the aid of her henchman, slightly sleazy Steve Bartlett (doubled by Jonathan Walker). The presence of Steve's luscious wife Verna (Sarah Rafferty) only angers the jealous Queenie, who wants her son all to herself.
Another storyline features the witch-like Baba Yaga (also Busch) and the delicate Princess Vasalisa (doubled by Ms Rafferty).
Then there is another segment: It features the cool but beautiful scientist, Dr. Constance Hudson (Jennifer Van Dyck), who specializes in cloning. One example of her efforts, Zygote (Scott Parkinson), has proved not too successful, that is, if physical attractiveness is considered to be a feature of re-creating a person. He's a bit monster-like, but not without a rather bizarre kind of appeal. Dr. Hudson often seeks the aid and cooperation of the stiffly intellectual Dr. Rutenspitz (Kathleen Turner donning horn-rimmed glasses).
While these various sequences are taking place in Peg's imagination, she (Turner) writes furiously on a legal pad as she tries to take down the scenes. Things become even more complex later, when Queenie becomes doubled, as Queenie 2. Queenie 2 appears exactly like the first Queenie but lacks the ability to analyze or moralize about people and events. This might even lead to murder. But it's all in fun.
When the storylines start to interweave, it may be difficult to keep track of everything. But with such terrific performances, who can care? Charles Busch is a treasure, with as effective feminine wiles and attractiveness as any of us women. Kathleen Turner's performances are slightly broad but not overly so, and with her rich voice and imposing presence she endows an appropriate theatricality to the proceedings.
Jonathan Walker smoothly switches between his nice-guy Drew and tough Steve. Sarah Rafferty travels nicely from a delicate princess to gun moll. Jennifer Van Dyck is particularly impressive, with a sophisticated verbal delivery and uniquely graceful movement. And Scott Parkinson as Zygote? Why, such a cute guy, we'd recognize him anywhere.
Director Carl Andress has neatly coordinated the hijinks. Costumer Gregory Gale, aided and abetted by Tom Watson's hair and wig design, add to the visual picture, as do sets by David Gallo and lighting by David Weiner. Kudos to MCC Theater for presenting this delicious romp.
