Dead Accounts: a good production of a mildly entertaining script

Dead Accounts By Theresa Rebeck, an Ottawa Little Theatre production, directed by Geoff Gruson

From the outset, there’s little doubt that Dead Accounts is the work of a playwright used to writing for television. And Theresa Rebeck, a writer for such TV series as NYPD Blue, Law & Order and Criminal Intent, regularly resorts to short scenes, detailed visuals and blackouts TV-style in Dead Accounts. This is not necessarily a problem, though the choppy format does become somewhat repetitive. Rather, it is an indication that this dark comedy, premiered in 2012, is more concerned with immediate response than resolution (as clearly shown in the open-ended conclusion).

Ottawa Little Theatre had some success with another Rebeck script (Mauritius), which was more satisfyingly constructed than Dead Accounts. The current offering is part a vehicle for negative comments about New York and part yearning for (or is it mockery of?) the mid-West. Rebeck, who lives in Brooklyn was born an raised in Ohio. It also emphasizes the evils of corporate greed, while idealizing the simple life. Perhaps all of the above account for the sense of uncertainty that surrounds this mildly entertaining script.

 

The storyline focuses on Jack, the financially successful prodigal son, returning to his family roots unexpectedly. Is he simply disillusioned with big-city life or is he on the run because of a small matter of $27 million? The contrast between the world he just left and the ordinary, but morally stable life of his parents, the sister who stayed at home to care for them and his old school friend is emphasized by his excesses, as demonstrated by buying fast food in ridiculously huge quantities and his verbal emphasis on living in the fast lane.

 

As directed by Geoff Gruson, the OLT production maintains the essential contrasts among the characters. Backed by the required ordinary look of Tom Pidgeon’s linoleum-floored set and plain kitchen cupboards — as sneeringly commented on by Jack’s estranged wife — and character-defining costumes from Susan MacKinlay, the city mouse/country mouse division is underlined at every turn.

 

Fine performances from each member of the cast bring reality to a script that is almost too stagey to warrant it. As Jack, Phillip Merriman talks a mile a minute. Although he pitches his character at a dangerously high level and speed in Act I, he copes with bringing Jack down a couple of notches in Act II, amazingly, making him almost likeable.

 

As his sister, Lorna, Venetia Lawless delivers a beautifully rounded characterization. She is just shocked enough by some of Jack’s actions, just angry enough about the way that folks have suffered because of bank actions and just ready enough to reach out for some fulfillment in her own life.

 

Meanwhile, Jane Morris is entirely believable as Jack’s adoring, God-fearing mother and her unseen sick husband’s concerned wife. Life is straightforward if you believe that you never keep anything that is not yours and you help the poor when you can.

 

The elegantly costumed Heather Archibald is effective as the stylish city woman and Josh Sparks, as Jack’s hometown friend and Lorna’s would-be beau, delivers the perfect picture of the road Jack might have trodden if he had stayed at home.

 

Altogether, this is a fine ensemble production of a sometimes indecisive script.

Dead Accounts continues at Ottawa Little Theatre to March 3

Director: Geoff Gruson

Set: Tom Pidgeon

Lighting: John Solman

Sound: Bradford MacKinlay

Costumes: Susan MacKinlay

 

Cast:

Jack…………………………………………………….Phillip Merriman

Lorna…………………………………………………..Venetia Lawless

Barbara…………………………………………………Jane Morris

Phil……………………………………………………..Josh Sparks

Jenny…………………………………………………..Heather Archibald