Review: 'Mama, She’s Crazy’ - "The Effect of Gamma Rays on Man-In-The-Moon Marigolds"

The Effect of Gamma Rays on Man-In-The-Moon Marigolds

Written by Paul Zindel

Directed by Michelle Macau

Presented by The Open Eye Theater

960 Main Street, Margaretville, NY 12455

July 18-28, 2024

L to R: Lisa Ruth Mays, Caroline Colvin (rear), Patricia Van Tassel, Gianna Vasquez Bartolini (rear), Taylor Nicole Hadsell 
Paul Zindel’s autobiographical play The Effect of Gamma Rays on Man-In-The-Moon Marigolds was first mounted at Houston’s Alley Theatre in 1965 under the illustrious leadership of Artistic Director Nina Vance. The piece is based on Zindel’s own rocky childhood, complete with troubled mother and a father who abandoned the family. He cites Edward Albee, teacher of creative writing at Wagner College on Staten Island, as his inspiration and path to becoming a playwright. Marigolds was his first staged play, completing 819 performances at Mercer Arts Center before making it uptown to the Biltmore. It would go on to become a much-heralded piece, winning an Obie, a NY Drama Critics Award, a Drama Desk Award, and a Pulitzer Prize. Some may recall it was recreated as a film, directed by Paul Newman.

The Open Eye Theater, in Margaretville, NY also has an illustrious history, relocated from its New York City roots some 30 years ago. Founders choreographer Jean Erdman and her husband, renowned mythologist Joseph Campbell, passed the torch to Artistic Director Amie Brockaway, and it has settled in its present home in the Catskills.

The Effect of Gamma Rays on Man-In-The-Moon Marigolds, Open Eye's second production of 2024, adeptly directed by Michelle Macau, brought together an ensemble of talented tech folk and gifted actors bringing to life this story of a struggling mother, Beatrice, or Betty (Patricia Van Tassel), and her two daughters, Tillie (Taylor Nicole Hadsell) and Ruth (Gianna Vasquez Bartolini). Beatrice earns extra money begrudgingly taking care of Nanny (Lisa Ruth Mays), a compromised elder. Tillie's penchant for science and her outstanding academic ability have labelled her a bit of a weirdo at school. Sister Ruth has her own issues, prone to epileptic-like fits brought on by past trauma and recurrent nightmares. Ruth is alternately ashamed and proud of her sister’s success, unconsciously mimicking her mother’s passive/aggressive behavior. Mother Beatrice is an ugly mess of a mom, the kind who creates a quicksand environment wherever she goes.
L to R: GIANNA VASQUEZ BARTOLINI as Ruth, PATRICIA VAN TASSEL as Beatrice, TAYLOR NICOLE HADSELL as Mathilda "Tillie"
But ultimately, Beatrice “Betty the Loon” goes nowhere. Beatrice’s mood swings between belittling and bestowing affection, only to pull the rug out when least expected. This unpredictability has affected each girl immeasurably. “Mom” has reluctantly allowed a pet rabbit to inhabit the home, but with Betty, everything is conditional. Anything that seemingly brings pleasure, “Betty the Loon” sets out to destroy. It’s like she cannot help herself. Which is the essence of what is wrong. She lost her adored mother, then the father she idealized. She married the wrong man, and never got out from under her inability to bloom. She grew up during an era where feminism was being birthed. Alone and saddled with two children, and her memories, Beatrice takes in an old woman, Nanny, who fabulously telegraphs her emotions without uttering a single word. May's silent performance is worth a million words.

Tillie is a brilliant outsider who has figured out it’s best to watch her mother, read the red flags as they fly, and stay clear of her mother’s destructive course. With Tillie recognized in school for her interest in atom theory, the drama reaches its climax as the principal calls to inform and invite Beatrice to the science award presentation. It’s a big achievement for Tillie, but Beatrice sets sabotage central, egged on by Ruth’s retaliatory outburst. In typical gaslighting style, Beatrice tells Ruth, “If you don’t get what you want, you try to ruin it for everybody,” truly her own modus operandi.
CAROLINE COLVIN as Janice Vickery
Two animals die in this production, one at Beatrice’s hands, and one called upon for the sake of science. Two daughters are stunted by their mother’s mental illness. An unfit mother is devastated by her memories, imagined and real, unearthed repeatedly as excusing why she has not arrived. Beatrice’s fantasies and dreams have kept her curtained from her present, with nary a clear mirror in sight.

Macau’s direction enveloped the audience in emotional chaos as actors became their characters so completely there was no separation from the story and their reality. John Sheridan’s music composition was instrumental in creating mood, suspense, and clearing the pathway for the story. David Hill’s set was well-lived in, and indeed we felt uncomfortably at home there, as we should have. Kudos to Erwin Karl for his lighting of the family’s dim world.

A mean mama has gone full-tilt downward spiral as the play closes, and Patricia Van Tassel is a picture of dysfunctionality. She is completely convincing; her self-absorption is revolting and real. Tillie, embodied by Taylor Nicole Hadsell, is radiant at her discovery of the effect of gamma rays, playing from a broad palette of emotions. Gianna Vasquez Bartolini portrays Ruth’s complex teen angst superbly, complete with physical impediment. Caroline Colvin as Janice Vickery brings the twisted humor home with her science presentation monologue, ending at least one cat’s nine life span in wicked cadence. This was a superb production with an intelligent talkback following.

-Yvonne Tutelli

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