BWW Reviews: Definitely No Trouble Enjoying Scott Caan's THE TROUBLE WE COME FROM
Scott Caan has written a very witty and smart script in his world premiere of The Trouble We Come From. Playwright Charlie not only has visions of, but actual stalkings by past girlfriends on his play's opening night while his now pregnant lover's out of town in Detroit. Charlie, oh-so-comfortably inhabited by Michael Weston, has invited his leading man and best friend Vince home for some mano-to-mano advice to help him out of his relationship dilemma. Caan's Vince's perfectly charismatic and charming as the all-bravado-on-the-outside, but sensitive- on-the-inside hunky leading man. Both Caan and Weston master their intricate, verbose dialogue.
As hard as it is to steal/grab focus from these two best buds (Caan and Weston's repartee's so smooth, so realistically believable), Teri Reeves manages to do just that each time she's on stage. First, as the former girlfriend Joanna, a firecracker hot Cuban bombshell (with the accent to match); Reeves' hysterical vamping as she seduces Charlie absolutely slays while raising the collective temperature of the room. With the aid of disguising wigs and totally different body language, Reeves re-enters the stage three more times as three totally different women -- two other past girlfriends, Samantha and Kelly and a possible blonde quickie. Bravo to Mz. Reeves for her versatility in creating such distinct and different women, with her Kelly being the most raw and soul-baring from her repertoire of characters.
Matt August firmly directs his talented cast in a quick and steady pace making the two-hour-plus performance breeze easily and entertaining by. When Vince's pregnant girlfriend Shelly (an effectively touching Claire van der Boom) finally returns home, a very clever additional fact revealed makes the whole evening something besides what it appeared. Blink and you just might miss it, but the timbre of The Trouble We Come From changes to a much more serious tone. Van der Boom and Weston really make the closing scene work ever so beautifully.
Stephen Gifford's detailed, multi-purposed exposed brick set serves mainly as Charlie's living room/kitchen with a staircase up to the unseen master bedroom. Then, with a flick of Luke Moyer's slick lighting, the staircase and bedroom door transform into the stagedoor and steps leading down into the theatre alley. Very nice. Love that Gifford renders set changes unnecessary!
Do go and enjoy! I did!