BPF: It's a 'Barbie' World at FPCT

◊◊◊ 1/2 out of five. 

(NOTE: Any and all references to Barbie, Ken, Midge and other dolls in the Mattel Co. Barbie line are made with the recognition that the Mattel Company holds a trademark (TM) on that brand.)

I will never look at a child with her (or his) doll the same way again.  Some of this has to do with the sudden bout of shame I feel for decapitating my sister's Ken doll and holding his head hostage when I was a spiteful 12 year-old.  Most of this new feeling, though, comes from seeing Barbie: A Doll Her, the new play which opened last weekend as a part of The 26^th Annual Baltimore Playwrights Festival at the Fells Point Corner Theatre.  This alternate universe comedy is written by Terry Kenney, directed by Miriam Bazensky and produced by Uncommon Voices, who last year presented the award-winning Split.   

Whether this play is similarly rewarded remains to be seen, but it certainly has a shot.  With wry adult humor and some serious undertones, Mr. Kenney has given us an interesting, thought-provoking work.  It is also wonderfully cast, and well-directed.  On the down side, it goes on a bit too long and retreads the same ground a few too many times.  Still, for what could have been a one joke bit, there is plenty here to chew on. 

The play's conceit is that all dolls bond with their owner and live their lives through them - that is, Barbie becomes a doll version of her owner.  Alas, when the owner grows up or moves on to other things, her doll goes back to Limbo, waiting for a new owner or for the original to return to her.  It sounds confusing, and trust, me don't read the lengthy explanation in the program which will make it worse, but when it is played out, it mostly makes sense.   

The opening scene has a vintage Barbie (1962) and a more modern Barbie (1988) talking while they stand at what seems to be a collectors table.  Here we learn that Barbies fear replacement or upgrading, and a bit about how a Barbie life works.  It is very funny, glib and biting, and makes a wonderful point about a child loving a toy versus an adult having a toy for its collectible value.  It also serves as a point for flashback, though we never return to this starting point.  By itself, this first scene is a gem, and would make a terrific one act play.  It is my favorite scene, and yet, in retrospect might be excised in future productions when Mr. Kenney might choose to edit and clarify his work. 

More of the Barbie world rules are discovered in subsequent scenes, where we find out how very badly Barbie 62's girl mistreated her and this Barbie's Ken (apparently each Barbie has her Ken and no other).  In a nice play on social commentary, we find out that the dolls were mistreated as the girl became a more vicious pre-teen and as her parents began to fight, and worse.  The Barbie/Ken point of view is at times hilarious and at others sad and even a bit scary.  It really makes you think.  Then there is a scene where Barbie must confront life in Limbo with her Ken, Midge and Alan (all in the Dream House, naturally).  She doesn't take to it easily, appalled that her girl doesn't want her anymore.  Then, in a bizarre turn that sort of works, we are transported to a Twilight Zone episode where Barbie and Ken rescue the adult that the girl has become by getting her to move into the Dream House.

Throughout these scenes there is much explanation and re-explanation of the doll world life, which is interesting, then dull, then a touch annoying.  And the abrupt nature of the final scene begs the question: Did Mr. Kenney really mean to write three plays?  The Twilight Zone idea brings focus to the piece and might have better suited the work as a frame, starting and ending it.  Otherwise the opening and final scenes work well separately, with middle a bit messy and long winded.

Still, the evening is a success on several fronts.  The script, even untrimmed, is endlessly clever, and quite funny, and a bit shocking, even.  It is cast extremely well, and directed with a sharp eye toward detail.  

Tom Moore, as Alan and Rod Serling, is the least effective of the four actors.  To be fair, he really has the least to work with (though he does get the best sight gag of the evening).  I mean only the most stalwart Barbie girl probably even knows an Alan doll exists (he's Midge's boyfriend here) if he even does.  Moore seems to be struggling with how to play this doll/man.  Is he stiff/wooden like perfect Ken?  Or is he the looser smart-ass party boy?  Lines of his that are clearly meant to be biting zingers land flat.  But his natural charisma and a great Rod Serling impression keep him nearly on par with his cast mates.

Jane Steffen, one of this area's most underrated commodities, proves again that she is an amazingly versatile actress, playing 3 very distinct and full roles.  First, she is the clueless but unwittingly smart "improved" Barbie 1988, with absolutely perfect doll mannerisms and a blank yet glamorous look on her face at all times.  Then she plays Lexi, the girl who owns another Barbie.  Here, Steffen gets to play surreal as she tortures her dolls right in front of us - including a funny then chilling bit with a sander that will give her Barbie a mastectomy, like the one Lexi's mother is getting.  Later, we see Lexi as an adult, desperately in need of her Barbie, even if she doesn't know it.  Finally, she plays the Limbo-wise Midge, Barbie's best friend, who dispenses almost religion-like wisdom about the ways of the doll world.

Nicko Libowitz is ideally cast as Ken.  He even resembles the doll, with his permanently set hair, gelled to look like a plastic 'do.  Ok, maybe he doesn't have the outrageous chest dimensions of Ken, and I am certain he has a belly-button, but you get the idea.  He also has perfect doll mannerisms, and his speech pattern is all American perfect gentleman.  Plus, his delivery is nearly wooden, which in this case is exactly what you'd want from an actor in this role.  Mr. Libowitz appears to be getting a real kick out of playing the part - the gleam in his eye as he parades through perfect Ken's never ending list of skills (he is a master chef, a great bartender, etc.) is priceless! 

Finally, as the title Barbie (1962 original), Alex Hewett is absolute perfection.  How she maintains her Barbie composure is a wonder to be sure.  (I hope Uncommon Voices springs for post-show massage therapy)  Her voice, a perfect combination of perfect patience and girlish delight is exactly what I picture Barbie having (I have never seen any of those new Barbie videos).  And watching her work through problems and fears shows that both the actress and the part she is playing have incredible depth.  She, too, looks to be having a great time in a great role. 

There is a sequence in the opening scene where Barbie 62 is dismayed at being replaced by an "improved" model.  Rapidly approaching middle age myself, I can totally relate.  That is what makes this play such a delight - you can relate to so much of it.  You'll laugh, and you'll think twice. 

 

PHOTOS: Courtesy of Uncommon Voices.  TOP to BOTTOM: Barbie 1988 helps Barbie 1962 take a seat. (Jane Steffen and Alex Hewett); Evil Lexi mutilates Barbie!  (Alex Hewett and Jane Steffen); Midge, Barbie, Alan and Ken enjoy life in Limbo. (Jane Steffen, Alex Hewett, Tom Moore and Nicko Libowitz).