Arts & Entertainment

Typing and telepathy

Charming drama poses death as mere inconvenience

Published

11 years ago

May 29, 2013

From left, Susan Lynskey, Helen Hedman and Paul Morella in ‘Ghost-Writer.’ (Photos by Christopher Banks; courtesy MetroStage)

‘Ghost-Writer’
Through June 16
MetroStage
1201 North Royal Street Alexandria
$45-$55
800-494-8497
metrostage.org

It’s not every day that a respectable secretary with a talent for punctuation becomes fodder for New York City’s tabloid press, but in Michael Hollinger’s 2010 drama “Ghost-Writer” (now at MetroStage) that’s just what happens.

When popular novelist Franklin Woolsey (Paul Morella) drops dead in the middle of dictating his latest book, loyal typist Myra Babbage (Susan Lynskey) forges ahead, channeling her beloved boss’ words from the beyond. While Myra’s unorthodox approach to wrapping things up is a hit with Woolsey’s editor and the curious public, the novelist’s jealous widow is none too thrilled.

Set in 1919 Manhattan, the odd workplace tale unfolds in Woolsey’s comfortable but unpretentious studio. Myra is seated at her typing table facing an unseen investigator (the audience). In wordy monologue and flashbacks she relays just how she came to be a literary medium.

Fresh out of secretarial school, Myra’s hired to take dictation from the businesslike Woolsey. A whiz at the clunky manual typing machine, she never misses a word. As weeks become months and then years, she respectfully but firmly corrects his punctuation and eerily develops the ability to anticipate his prose. The process moves to the outskirts of collaboration, and a close but chaste relationship evolves. There is no longer any mention of Thursday night dance classes or potential husbands. As Myra becomes more heavily immersed in Woolsey and his work, outside distractions fade away. Her focus narrows.

Occasionally the formidable and fashionably turned out Mrs. Woolsey (Helen Hedman) pays unannounced visits to her husband’s studio. A dilettante poet who once transcribed her husband’s novels by hand, she resents her husband’s secretary. After all it is Myra with whom Woolsey spends the lion’s share of his waking hours. And while she finds some comfort that Myra is less pretty than her predecessor, Mrs. Woolsey would still rather she go away. But Myra isn’t cowed; the studio is her domain and Woolsey belongs partly to her too.

“Ghost-Writer” is cleanly staged by John Vreeke (who is gay). In lesser hands, this delicately rendered memory play/ghostly mystery/love story might be a sappy mishmash, but Vreeke’s direction is insightfully keen and well-ordered and his outstanding three-person cast gives thoughtful, restrained performances. He’s also assembled a particularly cohesive design team. Together Alexander Keen’s evocative lighting, Jane Fink’s suggestion of walls and Robert Garner’s distant dance class music and steam whistle from the East river, play beautifully to the concepts of memory and the metaphysical.

At first glance, Lynskey’s Myra is the picture of no-nonsense practicality — pulled back hair and plain attire. But keep looking and you’ll detect a sly smile and twinkly eye behind the steel-rimmed spectacles; her character is no mere typing automaton. Her Myra has an inner world filled with romance and the flourishes of art and music. For her, awaiting Woolsey’s next utterance is an exquisite pleasure. Typing each page is an adventure. Lynskey captures all the layers.

Morella is terrific as Woolsey. He affectively melts from brusque boss to kindly colleague. And as Mrs. Woolsey, Hedman is a marvelous balance of overbearing and vulnerable. It’s a touching performance.

“Ghost Writer” is inspired by the real life happenings of famed gay novelist Henry James and his longtime secretary Theodora Bosanquet. Like Myra, the devoted Bosanquet did what she could to keep the literary master’s words flowing. Unlike Myra, she didn’t hold a torch for her boss. Bosanquet reportedly preferred women.

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Arts & Entertainment

2024 Best of LGBTQ DC Readers’ Choice Award Finalist Voting

Published

12 hours ago

September 9, 2024

Staff reports

It is time to celebrate the best of LGBTQ+ DC! You nominated and now we have our finalists. Vote for your favorites in our 2024 Best of LGBTQ DC categories through September 23rd. Our 2024 Best of LGBTQ DC will be announced at the Best of L GBTQ DC Awards Party on October 17th and our special issue will come out on Friday, October 18th.

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Out & About

Nu Sass Productions to celebrate 15th anniversary

‘Rosencrantz and Guildenstern Are Dead’ performed at DC Arts Center

Published

2 days ago

September 8, 2024

Tinashe Chingarande

Nu Sass Productions will mark its 15th anniversary with a resurrection of “Rosencrantz and Guildenstern Are Dead” beginning Friday, Sept. 20 at 8 p.m. at the DC Arts Center.

“Rosencrantz and Guildenstern Are Dead” debuted at the Capital Fringe Festival in 2009 and will return this year with a new cast and crew.

Tickets cost $30 and can be purchased via the Nu Sass website.

Theater

Explore new venues, productions during D.C. Theatre Week

30 shows, including musicals, comedies, dramas, premieres, and more

Published

3 days ago

September 7, 2024

Patrick Folliard

Michael Ramirez serves as a Helen Hayes Awards judge and board member at Woolly Mammoth Theatre. (Photo by DJ Corey Photography)

2024 Theatre Week
Sept. 26-Oct. 13
Theatreweek.org

For Michael Ramirez, theater remains an ongoing source of inspiration and pleasure. As a little boy in El Paso, Texas, his mom took him to see lots of kids’ shows. And later in high school, he played one of the Sharks in “West Side Story.” All fond memories.

At the University of Texas in Austin for social work (undergraduate) and social work/public administration (graduate school) and then as a successful human resources professional and policy wonk in Washington, Ramirez continued to enjoy theater from the audience or behind the scenes. Now retired, he serves as a Helen Hayes Awards judge and board member at Woolly Mammoth Theatre.

Theatre Washington is the umbrella organization that not only produces the Helen Hayes Awards but also Theatre Week, an annual celebratory launch of the season with shows at low prices, a free kickoff fest, and other fun events.

The 2024 Theatre Week, explains Ramirez, features about 30 varied productions in the DMV, including musicals, comedies, dramas, new works, premieres, and works geared to young audiences. And tickets are affordably discounted at $60, $40, and $20.

“It’s a great opportunity to take a chance on a theater that you might not be familiar with,” he says. “When it comes to seeing shows, a lot of people think Kennedy Center or Ford’s. This can be an introduction to something entirely new. D.C. is a busy theater town with lots of companies and venues.”

At the heart of Theatre Week are its plays and musicals. Ramirez has already made his list.

His picks include GALA Hispanic Theatre’s “The 22+ Weddings of Hugo” featuring out actor Carlos Castillo as Hugo and staged by out director José Zayas; busy out playwright Branden Jacobs-Jenkins’ “The Comeuppance” at Woolly Mammoth; and “Rosencrantz & Guildenstern Are Dead” at Nu Sass Productions.

He also plans to see Mosaic Theatre’s “Lady Day at Emerson’s Bar and Grill,” a play with music about jazz legend/queer icon Billie Holiday starring Roz White; ExPats Theatre’s “Marlene,” featuring Karin Rosnizeck as legendary diva Marlene Dietrich; and Rorschach Theatre’s “Sleeping Giant” written by gay playwright Steve Yockey well known as the developer of the HBO Max comedy-drama television series “The Flight Attendant.”

Ramirez adds, “And as a good gay, I can’t miss ‘Sondheim Tribute Revue’ at Creative Cauldron.”

There are also parties and outdoor events. He advises a few of his favorites.

On Monday, Sept. 9, Woolly Mammoth hosts a Theatre Week Launch Party replete with drinks and season sneak peaks (invitation only).

The Historic Theatre Walking Tour (Sept. 21) asks the public to check out downtown D.C. theaters with guides Farar Elliot and Chris Geidner (free). And with City on the River Concert (Sept. 22), Theatre Washington returns to the D.C. Wharf Transit Pier to present “musical theater showstoppers” from a dozen of the season’s upcoming shows (free).

Next up it’s “DC Theatre at the Nats” (Sept. 24), a night out at the ballgame that baseball lover Ramirez is sure to attend. And typically, he says, performers from a local show or company are booked to sing the anthem ($20).

And big event Kickoff Fest 2024, an all-afternoon event for all ages, takes place on Sept. 28 at Arena Stage (also free).

Not surprisingly Ramirez fell for another theater aficionado. He and husband John Ralls got together in 1990 and married in 2014. Ralls is a board member at Rorschach.

As board members, they “function as ambassadors and marketers for the theater. We reach into our pockets and write the checks. We buy the season tickets, and encourage our friends to do the same.”

Ramirez enthusiastically reiterates: “Theatre Week is especially fun. Again, tickets are reasonable. There’s everything from puppet plays at Glen Echo Park to something more serious. It’s the perfect chance to try something new.”