Debra Messing (Will & Grace) returns to the stage as Ernestine Ashworth, who spends her 17th birthday agonizing over her insignificance in the universe.
Soon enough, it’s her 18th birthday. Even sooner, her 41st. Her 70th. Her 101st. Five generations, dozens of goldfish, an infinity of dreams, one cake baked over a century. What makes a lifetime…into a life?
A writer of "freewheeling ambition" (Charles Isherwood, The New York Times), Noah Haidle makes his Broadway debut with a poignant new play as fearless in scope as it is tremendous in heart.
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Too much rests on Messing's shoulders, and it's simply the wrong play for her gifts. She has some odd ideas about playing young - her 17-year-old Ernestine has the physicality of a stomping kindergartner - and during the play's long middle she's inert, unable to strike sparks from her family. Even in moments of heightened emotion, Messing seems disconnected from those around her, twinkling at her children but not quite meeting their eyes. She's strongest when Ernestine gets into her nineties, because Messing's faraway gaze and abstracted air begin to take on poignancy. What is she seeing? What can she hear? Maybe there's some other life clamoring for her attention. Or maybe her mind is finally up there amid the constellation of lifetime things. Perhaps she's finding her place in the expanding universe, traveling farther and faster away.
Despite the play's universe-skimming ambitions, there's also a narrowness to its imagination of what life can and could be. Ernestine follows a path of least resistance; though she has regrets, 'Birthday Candles' isn't a critique of conformity, or the broader social forces that led her there (she is a woman happily baking a cake, year after year, for more than half a century, after all). The play rather reinforces the heteronormative fantasy that fulfillment comes in recognizable forms - just be careful which man you choose. It's a bitter, if obvious, pill served with enough sugar to rot a full mouth of teeth.
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