By William Wolf

HOLD ON TO ME DARLING  Send This Review to a Friend

Some of the smartest, perceptive and amusing dialogue of the current theater season, and maybe any other season, can be found in Kenneth Lonergan’s play “Hold on to Me Darling,” an Atlantic Theater Company production niftily directed by Neil Pepe.

What’s more, the entire cast can be lauded for terrific acting that entertainingly and flawlessly illuminates the characters Lonergan has created. At the center is Timothy Olyphant’s intricate performance as Strings McCrane, a wealthy country music star and movie star, who has come back to his roots in Beaumont, Tennessee to attend his mama’s funeral, a mama who has never been proud of what he has achieved, but to whom he still feels bound as a dutiful son.

Strings, to put it mildly, is a psychological, egotistical mess. He is filled with self-pity as he bemoans his life as empty, yet is always ready to exploit someone, especially attractive women. We see the pattern begin in a Kansas City hotel suite, when attractive Nancy, a professional masseuse, given a superb performance by Jenn Lyon, rubs him down. She has adored him as a performer and considers it a privilege to be giving him a massage. Typically, Strings works his wiles on her, but she has wiles of her own. Before you know it, they are locked in a relationship and off she goes with him on his mama mission. The thing about Strings is that no matter his totally insensitive behavior, we can find him enjoyably amusing.

The dialogue that the author has provided Strings is masterly. Lines, some punched out, some throwaways, reflect the various shades of his personality. While he bathes in trying to get people to feel sorry for him, he shows total lack of concern for others, whether it is Jimmy, cannily played by Keith Nobbs, his long-time subservient but loyal employee and general flunky, or the distant cousin Essie whom he visits and sexually exploits. Jimmy, by the way, has an excellent line—that Strings can always find him at the corner of Beck and Call.

Strings and Nancy marry, but that doesn’t stop him from wooing Essie one night when he barges in on her. Adelaide Clemens gives a perfectly-honed, touching performance as a lonely women aware of Strings’ predatory nature, but who succumbs out of sexual temptation, yet against her better judgment. Essie is a wonderful character creation and Clemens makes the most of the opportunity to play her.

Strings decides that he wants to chuck everything, including a commitment to star in a movie, which brings an enormous lawsuit. Back home, he persuades his half brother Duke to open a general store as partners. Duke is especially well portrayed with plenty of skepticism by C.J. Wilson. Of course, Nancy, who married Strings with the notion of sharing in his success as a star and all the rewards that life would bring, isn’t pleased with his down-home notions of leaving his life of fame behind. We can see where that relationship is headed.

On the heels of all of the comedy that abounds in Lonergan’s writing, the situations he creates and the acting delivery by the excellent cast members, the play delivers one poignant sequence. Strings has been estranged from his father, whom he has never met. Jimmy has located him and brings him to see his son. At first the confrontation is marked by hostility on Strings’ part, but his father, Mitch, played with feeling and humility by the excellent Jonathan Hogan, breaks through when he shows Strings the scrapbook of his achievements that Mitch has proudly kept all through the years. For the first time we see a softer, vulnerable side of Strings, and are left caring some and wondering where his life will go from there. At the Linda Gross Theater of the Atlantic Theater Company, 336 West 20th Street. Phone: 212-691-5919. Reviewed March 21, 2016.

  

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