BWW Reviews: DEAD MAN'S CELL PHONE at Trinity Rep

About 10 minutes into Act One Janice Duclos as Jean says, "I never had a cell phone. I didn't want to be there…Like if your phone is on you're supposed to be there. Sometimes I like to disappear. But it's like when everyone has their cell phones on, no one is there. It's like we're all disappearing the more we're there."  That is, in a few sentences, the sentiment that Sarah Ruhl's existential comedy Dead Man's Cell Phone is based.

As the play opens, Jean is enjoying a bowl of lobster bisque in a non-descript café when her peace is disturbed by the relentless ringing of a cell phone. A well-dressed businessman (Richard Donnelly as Gordon) is, seemingly, the only other person in the café.  Jean is, understandably shaken up when she realizes that the reason the man is not picking up his phone is because he has quietly died where he sat.

Jean answers the incessant phone, which becomes an instant umbilical cord of intimacy, and begins to insert herself into the dead man's now-ended life; as his publicist.  She weaves improbably comforting stories and messages on Gordon's behalf for his mother, brother, wife and mistress. Each lie, no matter how well intentioned, leaves Jean to juggle revised history with reality.

The play is beautifully portioned into two acts.  In Act One, we meet Jean and the people intimately involved in Gordon's life.  With Jean's instant intimacy comes instant exposure to all of the pitfalls of family.  Does Jean really fall in love with Gordon's doppelganger brother Dwight? Or is he an acceptable facsimile for a man she never actually knew, but admits to loving "in a way"?

As Act Two opens, we meet the late Gordon Gottlieb who shares his views on life, love and value (and cost) of, well, everything. We learn that Gordon is not a very nice person and that he and Jean May have more in common than she would like to think. Richard Donnelly is captivating when he spouts off as Gordon in a deftly constructed, biting, monologue that is its own perfect little piece of theater.

Aside from her obvious talents as a comedian, Janice Duclos may not have been the obvious casting choice in the Company for the role, which was originally played in 2008 by Mary Louise Parker. No matter.  Watching Duclos sink her teeth into this role is great fun.

Barbara Meek has a role of divine entrances and exits as Gordon's ice-goddess mother, whom her daughter-in-law Hermia (Phyllis Kay) reverentially called "Mrs. Gottlieb", up to and beyond the day Gordon died. As Hermia, Kay nails the most traditionally funny scene as she drowns her grief in Cosmopolitans.

Rachael Warren gives a fine performance as The Other Woman, who is insecure in her position of importance in Gordon's life (and death).

Michael McGarty's window set design is traditional and sparce, with marvelous flashes of whimsy.

Playwright Sarah Ruhl's quirky observations and interesting wordplay are effectively delivered under the direction of Beth F. Milles. Ruhl has fashioned a narrative that is comfortable with the uncomfortable.  Dysfunction is an amusing by-product of the relationships she has created, but clearly not the goal. The playwright goes a bit off the track, metaphysically, at a point, but is never not entertaining. 
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Dead Man's Cell Phone runs through March 28, 2010 in Trinity Rep's Dowling Theater. Regular ticket prices are $20-$65 and are on sale now at the Box Office, which is located at 201 Washington St., Providence, RI; by phone at (401)-351-4242; and online at www.trinityrep.com.

Photo: Janice Duclos and Phyllis Kay courtesy of Trinity Repertory Company. 

Photo Credit: Mark Turek

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