At the Wedding
Star Trek: Discovery star reveals her queer side on stage at Lincoln Center.
By Andrew Andrews
Eva has just married a man, and her ex-girlfriend Carlo has kinda crashed the reception.
Carlo was invited but never sent in her RSVP; now she’s seated at the kids table waaaaay in the back, scaring the children with warnings that some day they will suffer the loneliness of being abandoned by the person they love more than anything else in the world.
Eva’s bridesmaid Carly (whom Carlo insists on calling Marley) tries unsuccessfully to talk Carlo into leaving.
Instead, following shot upon shot of whiskey and flute behind flute of champagne, Carlo engages one guest after another in drunken conversation, always on the verge of creating a scene about Eva’s “over-correction” and claiming that “this wedding needs a villain.”
Welcoming audiences back to the Claire Tow Theater, Lincoln Center Theater presents At the Wedding as part of its LCT3 program, which produces shows by new playwrights, directors and designers to an expanded demographic of audiences.
If you think you know the limits of what you can get for a $30 ticket, you’ve probably never been to a production by LCT3.
As one of the newer performance spaces in Manhattan, Claire Tow Theater provides comfortable, not-quite-stadium-style raised seating with plenty of leg room in an intimate venue.
Just taking in the beautiful set before the show begins, with its enormous paper floral chandelier dominating what looks like the lobby of a Northern California winery’s event space, one can’t help but expect a show of the highest
There are no amateurs on the stage here (or behind it, for that matter!), and although most of the performers only have small roles compared to actor Mary Wiseman’s Carlo, the casting feels spot-on, and the “sneak peek” interludes between scenes add to the feeling that you’re just outside an actual wedding reception, snagging a breath of fresh air.
There are a few very brief moments that suffer from lack of momentum, and a notable disconnect between the amount of alcohol Carlo consumes and the level of inebriation she exhibits. But overall, the relatively-short story moves quickly, and it’s easy to get into the head of the main character, as well as the sufficiently-developed supporting roles.
I suppose if you consider The New Yorker as a guide to what’s trendy, then you might feel At the Wedding presents “new ideas in a new space,” as suggested by LCT3’s tagline. Really, though, the writing is crafted to be universally appealing, and would work just as well using any distribution of sexual orientations among its characters.
Which, combined with the low price, high comfort level and exceptional production value, makes this performance very easy to enjoy.
Andrew Andrews attended At the Wedding at Lincoln Center Claire Tow Theater in Manhattan on Sunday, March 13, 2022 @ 2:00pm to write this review.
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