by John Quinn

Article: 9569; Posted: April 11, 2015 at 5:00 p.m.

Matt Friedman, the persistent suitor in Lanford Wilson’s prizing winning comedy, “Talley’s Folly,” is very forthright. He tells his audience that the next 87 minutes should result in “a waltz one-two-three, one-two-three, no-holds-barred romantic story.” While the play, indeed, progresses with the grace and gentility of a waltz, director Angie Kane Ferrante’s sprightly interpretation renders “Folly” as brisk as a quick-step.

“Talley’s Folly” is the second, in order of performance, of Wilson’s “Talley Trilogy” and its events parallel in time to the events of the first play, “Talley & Son.” Matt Friedman (Robert Najarian) returns to Lebanon, Missouri to continue his courtship of Sally Talley (Aphrodite Nikolovski), whom he met while on vacation the year before. A contentious scene (detailed in “Talley & Son”) with Sally”s kin drives Matt to take refuge in the decaying boathouse, which lends its name to the play’s title. There, among the splintered remains of Belle Epoch frivolity, Matt woos the reluctant Miss Talley.

Of course, “Talley’s Folly” is also an apt description of a spinster’s improbable relationship with a hyperbolic, immigrant accountant. At times, the play is less dance than fencing match. The actors prowl the stage. And with each sharp parry and thrust, the couple remains on the defensive, shielding deep emotional vulnerabilities. Wilson’s characters are textured and multi-layered. Savor the emerging personalities, as the actors drop layers of concealment. It’s a pleasure that makes up for the fact that in this unsubstantial little plot you can smell the happy ending as quickly as cherry blossoms in spring.

Backing up the first-rate acting and directing are harmonious designs. Sarah Pearline’s set is already striking in its rococo rendition of “Whistler” Talley’s mad creation of turned posts and carpenter’s lace. The high-gloss finish on the lowest level gives an astonishingly real sense of place: a quiet backwater on a placid river. Danna Segrest has graced the place with what seems like a couple of decades of Talley family castoffs.

Dana L. White’s lighting design is remarkably kinetic for a two-person show. But aside from subtly directing audience attention, it gradually eases with the emotional beats, moving from warm washes of amber towards a cool, introspective gleam that captures “the light of the silvery moon.” Similarly subtle is Tom Whalen’s sound design, which can conjure barking dogs and brass bands on cue.

There are exactly two costumes for the show–his ‘n’ hers. Najarian’s business suit would appear non-descript, but while well-tailored, offers enough “give” that the performer is capable of some really energetic stunts. Sally Talley tells us herself that the dress she wears down to the boathouse is “special,” but we didn’t need to be told. That dress spoke for itself on its first entrance. Credit costumer Christianne Myers with the magic spell that give apparel a voice.

90 minutes. No intermission.

SHOW DETAILS:
Talley’s Folly
Purple Rose Theatre
137 Park Street, Chelsea, Michigan 48118
April 2 – May 23, 2015:
Wednesdays at 2:00 p.m. and 7:00 p.m.
Thursdays at 7:00 p.m.; Fridays at 8:00 p.m.
Saturdays at 3:00 p.m. and 8:00 p.m.
Sundays at 2:00 p.m.
$15-$42
734-433-7673
www.purplerosetheatre.org