Richard von Krafft-Ebing, an Austro-German sexologist and psychiatrist, wrote "Psychopathia Sexualis" in 1886. The book contained studies on sexual perversity. 110 years later John Patrick Shanley wrote Psychopathia Sexualis, a play exploring one such perversity - the inability to have sex without a pair of argyle socks close by. But we are getting ahead of ourselves.
Psychopathia Sexualis is the current offering at Compass Theater. Director Mark Stephan has cast five excellent actors in this delightful comedy about one man's strange fetish and so much more. The director opted for choreographer Araceli Carrera's opening contemporary dance routine lit by special-effects guru Lindsay Lawlor's neat firefly effect. The dance elegantly sets up the audience for what is to follow.
And now on to the story: Arthur (Reed Willard) is going to marry Lucille (Frances Rivera). However, when we first meet him he is with Ellie (Brianne Cross) who is actually permanently partnered with Howard (James Darvis).
To help us through this confusion it is necessary to enlist the help of a shrink, Doctor Block (Mark Zweifach). To be perfectly frank, he isn't much of a help since he is probably more repressed than his clients. Playwright Shanley develops an increasingly convoluted scenario.
To know Lucille is to love her. Her wedding dress is several sizes too large, and she is wearing cowgirl boots. She is a product of the Texas range rather than New York. Her accent can be cut with a serrated knife. She is, in other words, an absolute delight. She comes off not at a wealthy socialite, but as a no-nonsense Annie
Oakley. I kept waiting for her to pull out a six-shooter.
Bridegroom Arthur does have this one tiny problem with those argyles about which he has neglected to tell his betrothed. Realizing this trauma, he consults with the good Dr. Block. After many sessions, the good doctor finally resorts to confiscating the argyles. That's when some of the other players consort or, at least, consult with the good doctor regarding Arthur's problem. With absolutely perfect timing, this excellent cast goes from scene to scene, event to event, and trauma to trauma perfectly. Rivera gives Lucille a charming balance of rough-neck Texan and charming blushing bride. She plays her character's changes with grace. Cross's Ellie is delightful trying to maintain a balance only to throw her friend Lucille into an uproar of emotions.
Willard's Arthur, in many ways, typifies a groom-to-be. He handles Arthur's fetish most amusingly. Darvis, as Howard, must continually offer sage advice and occasionally it works, but more likely something will backfire. Finally, there is the shrink. Zweifach has given the eccentric psychiatrist believability even within the character, which is played for laughs.
Set designer Amy Peters created a multiple location set that has been designed for relatively fast set changes. The look from one scene to another changes convincingly. It is the sound designers, Mark Stephan and Jessica Crossman, also director and AD, who create an ever changing mood from opening music to tags and stings within the play. They prove the value of music and effects that sneak in to accent a moment and leave unobtrusively.
Psychopathia Sexualis is the type of play that has you talking about scenes and bits as you drive home from the theater. A special thanks to all who participated in
bringing the show to San Diego audiences.
