BWW Reviews: LEAVING HOME - An Absorbing Vehicle for the Luminous Karen Landry

Leaving Home/written by David French/directed by Barbara Tarbuck/Ruskin Group Theatre/thru March 14, 2015

Chris Mulkey's powerhouse performance as Jacob Mercer, the know-it-all, prone to drink, totally unsympathetic patriarch of the Mercer household, outperforms all others in this able cast of seven with his larger-than-life, thunderous screaming and irrational behavior. Playwright David French's Leaving Home chronicles the evening before the youngest Mercer (Bill) gets married to Kathy, the daughter of Jacob's old flame, Minnie. As forcefully directed by Barbara Tarbuck, the deck's totally stacked against Jacob and completely with everyone else. No doubt who's winning any of the family arguments here. Kudos to Mulkey for his balls-all-out performance as the pathetic, once-proud, still in love with his wife Jacob.

The luminous Karen Landry dominates (when she can) as Jacob's wife Mary - still feisty, still vibrant, financially savvy, ultimate protector of their two sons and keeper of peace in the Mercer household. Landry's Mary's the only person who can control/calm/placate Jacob and Landry accomplishes this with a great variance in vocal volumes and in approaches (reasoning, coaxing, chastising). You don't want to mess with Landry's Mary. She'll defend her brood to the very end with every weapon in her arsenal! Landry also has the best success of the ensemble in achieving a consistent Irish brogue. Landry's a delight to watch as she radiates her joys in life when not having to referee her family battles. Landry's Mary's a young thing again, a femme fatale in her new mother-of-the-groom dress dancing in the arms of the man she fiercely loves but constantly makes excuses for. Landry's Mary's very surprise physicality in one pivotal scene stuns. Brava, Landry!

Ironically, the one actor who's able to steal the focus from Mulkey (and Landry) has no lines- Minnie's boyfriend embalmer Harold played silently to maximum comic relief by Chip Bolcik.

As effective as Kayde McMullen is as the older son Ben; as directed and written, he's no match for Mulkey's Jacob. Even with arguments of logic and good sense, with an obvious love and respect and wish for paternal approval; McMullen's Ben's always defeated/deflated by his father. A lose-lose situation for Ben and the perfect reason for the audience to root for him to be leaving home. James Lastovic captures the uncertainly, immaturity, naivety of Bill, the 17-year old pressured to marry the girl he got pregnant. Sierra Barter, as the bride-to-be Kathy, shines in her utter embarrassment of her horrid mother Minnie's brazen conduct. Mary Carrig nails the hot-to-trot Minnie as she shameless flirts with her exe (now Mary's husband) in full view of her boyfriend Harold and her daughter Kathy.

Looming sense of danger of Jacob's possible physical outbursts to heighten his verbal tirades never leave the room. Guess different morals existed in an earlier era when couple stayed together no matter what-lost of love, alcoholism, complacency, difference of child rearing techniques. Aside from the very evident chemistry between Mulkey's Jacob & Landry's Mary (possibly do to being real-life spouses of 33+ years), why does Mary still put up with Jacob's ways???

Questionable point to end Leaving Home at the 90-minute mark as lots of unresolved issues left unanswered.

Would give a shout-out to the scenic designer for the efficient, detailed kitchen/living room set, but none's credited.

www.ruskingrouptheatre.com

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