The Pursuit of Happiness: Laughing Liberally

The Pursuit of Happiness
By Richard Dresser
Directed by Charles Towers

Scene and Lighting Designer, Pavel Dobrusky; Costume Designer, Deborah Newhall; Stage Manager, Emily F. McMullen; Assistant Stage Manager, Dawn Schall DesLauriers; Casting Director, Harriet Bass

CAST (in order of appearance)
Annie, Monique Fowler
Jodi, Amelia McClain
Neil, Allyn Burrows
Spud, John Wojda
Tucker, Jim Frangione

Performances at Merrimack Repertory Theatre, 50 E. Merrimack St., Lowell, MA
Through October 28 www.merrimackrep.org Box Office 978-654-4MRT

Oh, no – a play that makes us look at our lives and, as if that isn't bad enough, laugh at our own foibles. That's my way of saying that Merrimack Repertory Theatre's season opener The Pursuit of Happiness is a slice of life that rings true, while also being really funny. It is a timely comedy tinged with pathos as it looks at a middle-class family awakening to their level of dysfunction.

The issue at hand is whether or not the 18-year old daughter should go to college and which members of the family will be happy or unhappy with her choice. Father (Allyn Burrows) is dissatisfied and unappreciated in his job, but sufficiently laid back to survive the daily grind and allow his daughter to make her own decisions. Mother (Monique Fowler) is a go-getter craving greater achievements for her daughter and planning to be along for the ride. Jodi (Amelia McClain) does not want to follow in their footsteps, nor does she want her success to be at the expense of anyone else's failure. She just doesn't buy into what she sees as a system of corruption and argues that she is doing exactly what her parents have always encouraged her to do – to think for herself.

Director Charles Towers has shaped the cast into a convincing family unit and it is a pleasure to watch these three negotiate the central conflict and its resolution. Things are further spiced up with the introduction of Spud (John Wojda) and Tucker (Jim Frangione) to the mix. Frangione's gesture of hitching up his pants, McClain's eye rolling, and Burrows' deadpan yet menacing expression while wielding his stun gun add color to their portrayals. This ensemble plays well together and doesn't miss a beat when the pace revs up to breakneck speed late in the second act. Slapstick, pratfalls, and witty banter are handled with equal aplomb by all and playwright Richard Dresser packs a lot of wit into ninety minutes.

Dresser also places his characters at dramatic crossroads and follows the twists and turns of each journey to see where it will lead. Jodi's pronouncement sets in motion Neil's reassessment of his life, as well as Annie's rash, regrettable, but oh-so-motherly plan of action. Neil's office mate Tucker is enticed out of his one-note existence into the now chaotic family circle, while Annie's old college chum Spud is more than willing to be used as long as there's something in it for him. None of the adults seems to know the path to true happiness, a message not lost on Jodi. Ultimately, they must all determine their own definition of happiness and maintain the pursuit one by one.

Neil doesn't know he is unhappy or lonely until his daughter points it out in her college application essay. He comes home from work feeling defeated, only to face the losing battle against the predators in his garden and the growing detachment from his wife. Annie thinks their problems would be solved if only they had more money, but she deludes herself to cover up her realization of her own shortcomings and lost opportunities. While Neil tries to find a friend to make him happy, Annie focuses on her mission to get Jodi into college, believing that accomplishment of that goal and some flirtation with Spud will fulfill her needs.

For all its humor, The Pursuit of Happiness takes on a couple of serious issues. It is the second play in Dresser's "happiness trilogy" that puts a spotlight on class, suggesting that relationships, careers, and money present considerable challenges across the social strata. The setting is a comfortable Maine home, but the subject matter is broad based and could be playing out in living rooms throughout America as people chase their constitutional dreams.

Speaking of living rooms, Pavel Dobrusky provides a multi-tiered utilitarian set that serves as the family's kitchen and living area, Jodi's bedroom, the porch steps, Neil's office, a campus lounge and dorm room, and a soup kitchen. Deborah Newhall clothes the actors simply, except for Fowler who has several costume changes that reflect Annie's need for more flash. As he becomes further removed from his job, Neil goes from crisp shirt and tie to a big, red plaid flannel and jeans. Jodi wears the adolescent uniform of sweatshirts, jeans, and sneakers, while both Spud and Tucker are attired somewhat sadly as metaphor for their glum life circumstances.

In the end, it has been driven home by Dresser and his very realistic characters that the pursuit of happiness is an individual and sometimes lonely quest. While no one can provide a road map that applies to all, there are some universal components that factor in: making your own decisions, carving out the life that fits you, and accepting that it really is about the journey.