Be warned: do not ever go to see "The Mineola Twins" on the supposition that it has anything at all to do with "The Venetian Twins."
It may prove the vast potential for humor in the "mistaken identity" gag, staple fare of the Dartmouth entertainment scene this summer, but there the similarity abruptly ends. Tonino and Zanetto had it easy in 18th century Venice; Vietnam and the Republicans did not have a grip on the every day activities of those boys.
Subtitled "a comedy in six scenes, four dreams and five wigs," "The Mineola Twins" revolves around identical sisters, Myra and Myrna, identical except in matters of personality, politics and breast size, contentious issues in the '50s, '60s and '80s alike.
Myrna is the "good" sister, engaged at 17, saving her virginity until marriage with her eyes firmly set on the American Homemaker championships. All those apple pie dreams are spoiled however when sister Myra sleeps with her fiance.
Traumatized, she eventually undergoes electric shock therapy, throwing her further off balance, proven by the fact that by the time the play reaches the Bush administration she works for a radio station, broadcasting on behalf of Concerned Americans for America.
Myra involved herself in the anti-Vietnam demonstrations, an action culminating in the armed holdup of a bank. Caught by the FBI, she finds love and her true sexual orientation with fellow prisoner, Sarah, during her sentence.
The play culminates in Myrna, taking advantage of Myra's absence at a conference, attempting to blow up the Planned Parenthood clinic where she works.
The New York Theatre Workshop is spending these weeks testing out new writing: much of what they are putting on is work in progress, unfinished and still subject to revision.
"The Mineola Twins," the brain child of Paula Vogel, lacks polish, forgivable under the circumstances. The artistic director, James Nicola, spoke before the reading commenced of how the company had been revising up to the afternoon of performance, to the extent that at least a third of the script was new.
Throughout the play, the actors read from scripts, when not speaking they sat just behind the action on stage. Stage directions were read on stage and music was controlled in full sight of the audience.
This placed us in a novel and privileged position, our input vital for the actors, who were clearly delighted when a line caused out bursts of laughter. An atmosphere of informality pervaded the Bentley Theatre, as we recognized our contribution to the show was of special value. Thus we indulged the occasional lost place, fumbled line and clumsy cue.
I did not find the play very amusing. This however was not the experience of most audience members who were entertained and engaged throughout.
The most likely way of explaining the discrepancy in appreciation is by nationality; I am English and it is in itself the source of much comedy, that we simply do not find the same things funny.
To my Anglo-orientated ear the satire was blunt and predictable: lesbians dropping soap in the prison shower just do not do it for me. Neither do analysts, Barbara Bush's facial hair or the spectre of multi-culturism.
That said, selected lines did cross cultural boundaries: "In a world of Catholics everyone's a mistake" prompted a chuckle if not a side splitting roar.
Veanne Cox as Myra/Myrna seemed in the former role to have latched on to a style of delivery that got a laugh which she then proceeded to milk dry.
Cox barked out many of her lines, detracting from a stage presence and flexibility which would have shone through much more strongly otherwise. Towards the end of the two hours she seemed, understandably, to tire but there was undoubted potential in her performance which needs only to be fleshed out.
Perhaps certain Americans would have found the satire smug too. I like to think my response was dictated by my cultural background. By the reaction of others it seems they have a good play in the works, just take a tip from me and do not go on an international tour.
