Dig
Jeffrey Bean, Andrea Syglowski, Triney Sandoval (Photo: Justin Swader)
Dig
Reviewed
by Julia Polinsky
Is Theresa Rebeck’s new play, Dig, a terrific character study of
troubled people, asking if anyone is beyond saving? A heart-rending meditation
on truth and honesty? Is it “…tragical-comical-historical-pastoral?” Yes, and yes,
and yes, and quite, quite wonderful.
Under Rebeck’s own direction, knockout performances from a terrific
cast bring her tight, beautifully written book to vibrant life. From the moment
the lights come up on the splendid set, and Roger (Jeffrey Bean) and Lou (Triney
Sandoval) draw your eye and attention, the real-ness of these performances hits
hard. And that’s before the first word from Andrea Syglowski (Megan), who,
hiding in plain sight in her drab depressive’s clothing, has perfected the art
of playing invisible when she herself has such stage presence.
Dig takes place in a small plant and
garden shop named Dig, in a dying neighborhood in an unnamed town. The shop
owner, Roger, himself a semi-recluse who is content with his plants and their
photosynthesis, starts the play by confronting his old friend Lou and his
friend’s dying plant -- which Roger had given him in the first place.
Roger says he’ll rehabilitate that plant, and just like that, rehab
enters the conversation. Megan, Lou’s daughter and the elephant in the room,
has just left – rehab? Prison? Both? She is emphatically in need of a little
restructuring herself. Ok, a lot. Tons. She knows it; she spouts the gospel of
AA as telling the truth of her sad story. She tried to kill herself; her father
reluctantly took her in, after release, because she had nowhere else to go and
someone had to vouch for her.
In the teeth of Roger’s objections and disapproval, Megan immediately
embraces the idea of repotting a plant to help it grow, give it some air and
food, and the first inkling of real growth and change enters the story.
 Jeffrey Bean, Mary Bacon (Photo:James Leynse)
There’s more to it than that, of course, and when a customer, Molly
(Mary Bacon), comes in and recognizes Megan, that story comes out: Megan’s
young son died of his mother’s neglect, locked in a hot car with the windows
rolled up. Molly’s revulsion is a total-body experience, one that ignites screaming
anger from the volatile Megan.
Can there be forgiveness for that? For killing your kid? Can a mother
who let that happen be rehabilitated? Will any amount of positive attention bring
her back to the life her dead son can never have?
Dig, the plant shop full of growing things, may answer that question.
The owner, Roger, collects people who need help, as much as plants that require
pruning, feeding, watering. The stoner dude who drives his truck, Everett, (a
killer performance from Greg Keller) somehow escapes Roger’s hidden kindness
and crusty benevolence. Everett’s clueless self-centered behavior prompts Roger
to fire him, and then things get complicated; he refuses to learn and improve.
Lou, the best friend at his wits’ end, Lou’s desperate daughter, and even the
judgmental customer, Molly, all somehow get something from watching Roger help
things grow.
It’s really Megan’s show, but the other characters grow, too. Mostly.
That’s a teaser but not a spoiler, so here’s another: at intermission, after
enjoying the first act leading you more or less where you think it’s going, you
may find yourself, as I did, crossing your fingers, hoping the second act is
unpredictable.
Unpredictable indeed. Megan’s ex-husband, Adam (David Mason)
unexpectedly arrives and creates an uproar. Didn’t see that coming, and how devastating
it is. Act II, in its pity and terror, resolves many questions, and answers
yes, yes, and yes: some people can be rehabbed, but not without hard work.
Lives can be renovated, with a lot of thought and care. To keep the plant
metaphor going, a little pruning, a little water, some nurturing, some care,
and some honesty go a long, long way.
 Jeffrey
Bean (Photo: Justin Swader)
The set, by Christopher Swader and Justin Swader, may be the best set
ever at 59E59, where Primary Stages, the producing company for Dig, is
now resident. The monotonous green and brown of the store blossoms into color
as the characters’ lives hint at improving (watching the stage manager reset
for the second act is delightful). Note-perfect costumes come from Fabian Fidel
Aguilar and super-effective lighting design from Mary Ellen Stebbins.
Early in Dig, Roger says, “It’s only the most important chemical
reaction on the face of the earth.” He’s talking about photosynthesis, but he
might as well be talking about the honest, truthful, painful, and warm and
wonderful the relationships among people. A beautiful play, beautifully done, Dig
will reward your time and attention.
Dig
59E59,
Theater A
59
E. 59th St., New York, NY
Through
October 22
Tickets
$65-125
https://www.59e59.org/shows/show-detail/dig/#schedule-and-tickets
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