Theater review by Gail M. Burns and Larry Murray
Gail M. Burns: I had to be reminded that I had seen and reviewed a production of this play fifteen years ago, also at Shakespeare & Company in Lenox. Although I liked it at the time, it was not a memorable experience.
Larry Murray: Private Eyes is an odd concoction for sure, with some of the wittiest comedy and clever aphorisms of the current fall season. Written by Steven Dietz, the revival of Private Eyes features a fresh look and much younger cast from when the Company staged it in 1999 in the Stables Theatre at The Mount. There is one rather unmissable change, however, since the therapist Frank played then by Robert D. Lohbauer has had a sex change and is now played by Lori Evans Pugh. In your prophetic earlier review (link) you advised audiences to be prepared to go through the looking glass.
Gail: For all its twists and turns, Matthew (Luke Reed) is the central character and whatever happens happens to him, whether in fantasy or reality. Another solid bit of reality here is that Matthew and Lisa (Caroline Calkins) are married, or were married during much of the action of the play. Lisa may, or may not, be having or have had an affair with Adrian (Marcus Kearns), an insufferable British director who has cast the couple in an unnamed romantic comedy. Adrian’s wife (Elizabeth ‘Lily’ Cardaropoli) may be stalking her erstwhile husband in various disguises, or the whole thing may be a series of semi-fantastic stories Matthew spins for his psychiatrist, Frank (Pugh.)
Larry: Jonathan Croy is at work here as the director, which means that when there is fun, it’s rib-splittingly funny and where there is tragedy, it fully shocks and dismays. Everything is topsy turvy in this Diet-zy concoction. In the program notes, the director says that Private Eyes is a delicate Swiss watch of a play, moving gracefully through time and memory.