Lakeside Little Theatre’s “Good People” is a poignant, brave and almost subversive play that focuses on what it really means to be down on your luck.
At the core of the play is a long pondered moral dilemma: Is it strength of character or just a few lucky breaks that determines a person’s fate?
Director Lynn Phelan’s clear-sighted interpretation of David Lindsay-Abaire’s tribute to his old South Boston neighborhood empowered the actors to perform with an almost aching authenticity.
Veteran actor L.B. Hamilton – new to LLT but not to theater – plays the role of Margie, the resilient middle aged “Southie,” close to perfection. From her first line to her last we feel Margie’s angst. As a single parent of a disabled child who loses her job as a dollar store cashier she struggles to survive. She is one bingo game away from being homeless. Steve, her boss, who fires Margie for being late so often, is portrayed by Greg Clark, who does a winning job as he reveals both his tough and tender sides. Patricia Guy, playing Margie’s vituperative landlady, keeps the pace flowing with the help of Margie’s outspoken best friend Jean, executed with flair by Rosann Ballbontin. Their unusual “street smart” code of ethics is a contrast to Connie Davis, who deftly plays the gracious, upper class wife of Mike – an escapee from South Boston.
Russell Mack is perfectly cast as Mike, a doctor who is referred to as “lace curtain Irish.” (We haven’t see Mack in a part this good since “Regrets Only.”) As Mike tries to cocoon himself from reality, he sees his safe world come under threat as Margie slowly breaks down his wall. It all becomes darkly funny yet surprisingly tender.
There are no lace curtains in Rob Stupple’s set – one of the most creative I’ve ever seen at LLT. The show has five set changes. It’s quite a challenge but Stupple brilliantly devised large movable units that open up, turn around, and become a dreary alley, a run-of-the-mill kitchen, a doctor’s office, a church basement and, hidden behind them all, an expansive richly decorated living room that surprises us as the curtain opens on Act II. That said, the set changes could be tightened up to ensure a smoother transition from scene to scene in Act 1.
Some of the hardworking backstage crew double as the local characters and it all is headed up effectively by stage manager Beth Leitch. The production assistant is Hallie Shepherd, construction Richard Bansbach and crew, props Carolyn Cothran, lighting Shellie Checkoway and Alan Bowers, sound J.E. Jack and Hallie Shepherd, costumes Fortini La Guardia, makeup Julie Mignard and crew. The dialect coach is Neal Checkoway and the voice of the bingo caller is Allen McGill.
The play is timely and significant given today’s harsh economic climate. And even if the Boston accents were somewhat variable, this is very good theater, well performed and successfully directed.