You Gotta Have Friends

Art

Serge is a very successful Parisian dermatologist who enjoys many of the finer things that life has to offer. To some people, he might be considered an intellectual snob, but to his two besties, Marc and Yvan, he’s simply their friend. Although each of the three men have a great deal in common, theirs is often a veritable love/hate relationship. The plot revolves around Serge having just purchased a large and controversial, all-white painting for an obscene price. Serge is pleased with and proud of his investment. Marc, however, is appalled by his friend’s frivolous acquisition, while Yvan tries to appease both his friends by remaining neutral. Their differences of opinion, while analyzing the nature of art, lead to heated discussions and passionate arguments. Eventually the confrontation turns outright physical. While not an olive branch, a bowl of olives is offered as a gesture of peace, and a kind of reconciliation takes place. Because, as Bette Midler sang, “You Gotta Have Friends.” 

Yasmina Reza’s philosophical one-act originally premiered in Paris in 1994, in her native French. Two years later, a deliciously loquacious and absolutely scintillating English translation, adapted by Christopher Hampton (DANGEROUS LIAISONS, SUNSET BOULEVARD), took London’s West End by storm and won the Olivier for Best Comedy. Then, as expected, ART transferred across the pond to Broadway in 1998, where it won the Tony Award for Best Play and ran 600 performances. It should be noted that Ms. Reza is also the author of GOD OF CARNAGE. Like ART, that one-act was also adapted into English by Mr. Hampton, and offers a biting reflection of middle class issues and values.

Marti Lyons, the talented Artistic Director of Remy Bumppo Theatre Company, brilliantly directed this production. She’s brought out the very best in all three of her gifted actors. Known for her excellent production at Remy Bumppo of GALILEO’S DAUGHTER, THE NICETIES at Writers Theatre and GEORGIANA AND KITTY: CHRISTMAS AT PEMBERLEY at Northlight, Ms. Lyons guides this trio of skilled actors with a gentle hand and a firm vision. Her production certainly celebrates the company’s mission statement that their productions stress “beautiful language—clear, precise, nuanced—in the service of great storytelling.” 

The presentation is powerful, although produced with an economy of externals. Lauren M. Nichols’ elegant but sparse Scenic Design works well for the apartments of all three characters. Only differentiated by the painting on each apartment’s walls, the set is framed by three walls of matte white wainscoting. The presentation is accented with a few stylish pieces of furniture, splendidly lit by Liz Gomez and subtly  peppered with Matthew Chapman’s Sound Design of cool jazz.

Seen in Idle Muse Theatre Company’s IN THE NEXT ROOM (OR THE VIBRATOR PLAY), Chad Bay is strong and completely believable as Serge. A fully fleshed out, three-dimensional character, he’s played with just a touch of arrogance, different from other productions of ART that I’ve enjoyed. Here, Mr. Bay holds power over the stage like it’s his own private possession, playing a flamboyant, prosperous professional who loves his life and treasures his friendships. 

Talented, good-looking Justin Albinder makes his portrayal of Marc to seem like Serge’s equal, in so many ways. Enjoyed recently as Barry in Marriott’s BEAUTIFUL and as Legolas in the US Premiere of THE LORD OF THE RINGS: A MUSICAL TALE, Mr. Albinder’s character both opens and closes the play. As such, he’s responsible for bringing the story full circle. Marc’s the catalyst for the conflict, one that almost grows out of control; but he’s also the character who brings all the loose ends together in the end. Although Marc’s not the antagonist, his point of view, at times, frustrates us and at other times earns our admiration. Like all three characters he’s layered and Mr. Albinder plays Marc with multi dimension. 

Eduardo Curley portrays Yvan as if that character lived inside him. The actor is so completely compelling and realistic. Every facial tic, every gesture—even the occasional breaks in his voice—all seem so realistic. It’s as if this fictional character is an extension of Mr. Curley’s own personality. Mr. Curley earns the audience’s sympathy as the character who, from the very beginning, becomes caught in the middle between two opposing viewpoints. Although Yvan tries to gallantly serve as mediator, he’s plagued by so many of his own personal problems that he soon becomes a pawn for Serge and Marc.

By the conclusion, bitter words are retracted, friendships are rebuilt, truths are spoken and we seem to be back to the way things were in the beginning. But are we? This is a truly exceptional production of a multifaceted play. Inhabited by three very realistic characters, there’s much to munch on in Yasmina Reza’s script. The intelligent, deeply discerning dialogue is filled with color and texture and offers more scholarly stimulation than most plays, especially of this length. But through all the arguments, personal jabs and down-and-out brawling, peace is eventually restored. After, as The Divine Miss M sings, “You Gotta Have Friends.”             

Highly Recommended

Reviewed by Colin Douglas

Presented May 1-June 1 by Remy Bumppo Theatre Company at Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available in person at the box office, by calling 773-975-8150 or by going to www.remybumppo.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.