MYTH OF THE OSTRICH Is Hilarious and Heartfelt
Playwright Matt Murray deftly, and comically, explores parenting and friendship in Myth of the Ostrich, a riotously funny play with a lot of heart and a couple effective twists. The Upstream Theatre production, directed by Jane Paradise, is lively and compelling, with exceptional performances from a terrific cast that elicit almost constant laughter from the opening moment to the final scene, which wraps you like a hug as tears of empathy and laughter happily intermingle.
Set in Boston, the play features Holly, who lives in a cozy basement apartment with her child Jody; Pam, the mother of Evan, who shows up unexpectedly and has never met Holly before, even though their children are close; and Cheryl, Holly’s best friend, who stops by to drop treats off for Holly and ends up hanging around. Pam has found a love letter from Evan to Jody, and she’s come to Holly to discuss the letter and decide “what to do” next. Holly has a very different parenting style than Pam; she feels it is inappropriate to read Evan’s letter. Although it can be difficult at times, Holly believes it is important to allow teenagers autonomy and trust; that includes not snooping in their room and reading a letter hidden under their mattress. But Holly is also kind and sympathetic to Pam and her concerns, even if their background and parenting approach differ. Pam, who recently moved to Boston from the upper Midwest, confesses that she is having a hard time fitting in and finding friends, tugging on Holly and the audience’s heartstrings in a really relatable way. The afternoon takes a number of interesting turns, filled with several revelations, unusual treats, and even the potential for friendship.
Wendy Renee Greenwood perfectly captures Holly’s warm, good-natured personality and the concerns of a writer struggling with her next novel and experiencing the normal joys and pains of single motherhood. She’s determined to raise her child with trust and communication, and this patient but encouraging aspect of her personality infuses her interaction with Pam with relatable kindness. Janelle Gilreath Owens is spectacular as the slightly repressed and more conservative Pam, a transplant from the upper Midwest who has not adjusted to life in Boston and may be questioning her own life choices. She seeks Holly out because she has suspicions about her child that she’s afraid to voice, and a husband that she’s possibly more afraid to cross. Owens excels at the physical comedy in the script, utilizing her skill as a dancer to bring the character to life with humor. Pamela Reckamp is a hoot as Cheryl, Holly’s best friend, a woman with a thirst for adventure, she gleefully shares tales of her sexual exploits, seeming to add details purely for the effect they have on the more reserved Pam. The three performers are wickedly funny and unexpectedly heartwarming – you want to cheer for all three to connect while maintaining their individual quirks and qualities.
Paradise directs with a sure hand, clear perspective, and an eye towards maximizing the laughs while moving the story forward in ways that are affirming and true to the characters. Patrick Huber creates a cozy basement apartment space that feels lived in and comfortable, if a bit cluttered, grounding Holly’s character in her space. Denisse Chavez’s lighting design and Ellie Schwetye’s sound design progress from realistic and functional to a representation of Pam’s internal experience in ways that are both hilarious and understandable. Dialect coach Lauren Roth is spot on, from Pam’s “Minnesota nice” intonation, to Holly’s lighter, proper Boston lilt, to Cheryl’s brassy, bold “Southie” quips and clipped cadence, reflecting each character’s background in ways that add to their truth. And truth is an important underlying theme of the very funny show.
Myth of the Ostrich doesn’t shy away from contemporary reality, and it won’t be to everyone’s taste. But the audaciously funny show delights with wit and empathy that brings real human connection and heart to a tense situation. The play covers a range of topics, from teenage autonomy and exploration of their self-identity and sexuality to illicit drug use to the very real struggle of establishing new connections and friendships as an adult. The cast fearlessly dives into the comic possibilities, creating scenes that are a bit incredulous and exaggerated at times, yet even more effective and funny for their excess.
Intended for mature audiences, you don’t need to understand all the references to have a laugh out loud good time as the one act show is packed with hilarious moments that underscore very real themes and concerns. Upstream Theatre keeps the pace moving and the laughs coming with this funny, surprisingly poignant U.S. premiere. I hope that the company can extend this show, so more people have a chance to enjoy its humor and heart.
[Photo Caption, as needed] Holly (Wendy Renee Greenwood), Pam (Jenelle Gilreath Owens), and Cheryl (Pamela Reckamp) create plenty of laughs in the bold and funny Myth of the Ostrich from Upstream Theatre, photos by Patrick Huber.
