“LOVE, LOSS & WHAT I WORE”; a play even for guys! Reply

Review by Danny Gaisin

“Coming out of the closet” has a popular & current connotation of publicly divulging or acknowledging one’s sexual preference; it also could mean a laconic critical description of Nora & Dalia Ephron’s play on Beckerman’s book “Love, Loss & What I Wore”. Via the vehicle of monologues, five women portray twenty-eight characters as defined by their apposite wardrobes for the described periods. Understandably, there were less than a dozen males in the L.A.C. audience for Galahad‘s production under the direction of Yo Mustafa, & produced by Paul Groulx.

Glover;Lander;Brokenshire;Fisher;Dagenais & McCabe-Bennett in L.L.& WIW

Glover;Lander;Brokenshire;Fisher;Dagenais & McCabe-Bennett in L.L.& WIW

Conversely this somewhat misogynistic male found the subject rather fascinating and thus helpful in appreciating my muse‘s critical commentaries on this scribe and his lack of dress co-ordination. Such comments as “You surely are NOT planning to wear that shirt with those pants; or You are AWARE that it is now after Labour Day & that suit is off-white” are usually not answered out-loud but rather with a muttered; “No, I just put it on to annoy you”; or a succinct “every guy knows that every color is just another shade of grey! Then, I change out of the offending co-ordinates.
The play‘s format is composed of five seats with music stands; an easel; then another chair for the M.C. The five-woman team take turns in describing life highlights, as sketches of the corresponding outfits are shown in sketch-format on the easel. The role of Gingy is implemented by Judith Lander and she also has most of the bon mots. In some of the vignettes, Diane Brokenshire portrays her mother, but it is her Annie and Eve where her acting talent shines most. She is also a credible doctor and head-shrink! Both Deb Dagenais and Barbara Fisher      handle not only the comedic moments but also the sentimental or melancholy reiterations of those instances that occur in everyone’s life. Their method of understating the pathos being recalled reflects not only on their thespian talent but immaculate & creative directing.
The youngest member of the quintet is Franny McCabe-Bennett and her roles consist mostly of the more current fads and social situations. Her bit about mini-skirts and sexy boots was actually a subject reprised in a New York Times™ article; her despair over how her evening turned out is visceral and amazingly credible. Galahad is bringing her back in their upcoming July presentation of A Perfect Wedding.
The vignettes cover such topics as brassieres (training -to double D; as well as prosthetics after a mastectomy); the outfit ages of Madonna; marriages and divorce; declared vs. actual dress sizes; flats vs. sexy heels; black was & IS the new black!; and the everlasting parent to child dichotomy of dress code & style.
The designer names and fashionable retailer appellations may have floated way above this writer‘s awareness & familiarity, but I did get the gist of what the performer was delineating. Last night‘s audience was fully attenuated and immersed in the iterations presented on stage. Love Loss & What I Wore has two Saturday performances at 2 & 8pm.


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