With “Small Talk,” there is no obvious trajectory as there was in Quinn’s previous shows
Perhaps it is because the very notion of small talk becomes like a snake eating its own tail. Small talk begets small talk, which is, by its is nature, small.
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Mendez is a standout for so many reasons – mainly because although this story is featured as being about Frank and Charlie, it is Mary who provides the catalyst, the spark. She keeps the team going and is reckless and brave. Without her the men would not be the team that they were. Goff and Radcliffe are a match of perfection. They leap into the fray without hesitation and show us two fully formed human beings who snatch defeat out of the jaws of victory.
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Listening to Maye you are obliged to open your heart and let the sun shine in. She has been crafting these songs for more than 70 years. Her performance is so dazzling that, when the show is over, you have to sit at your table for a moment or two before you can gather your wits and your coat and your scarf.
You leave Birdland walking on air because Marilyn Maye has made you feel, down to your toes, what all those songs are talking about.
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This is a story executed in exquisite detail and delicacy that pierces you like a scalpel. It is the story of Suzanne Alexander, a student and unwed mother, caught in the racism of the 1950’s that ended in the death of her two twin daughters. I am giving nothing away here. She tells us this in the first few minutes of the play, and sprinkles the facts in throughout her narrative, often adding, “That was later.”
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Here’s the thing about Deirdre O’Connell: she commits to every role she plays with such ferocity that you buy into whatever it is she is selling. She could be doing a play about automatic garage door openers and she would make you want to go out and get one, even though you don’t own a garage, a garage door, or even car. It wouldn’t matter.
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