Sexual politics – The Escort

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Jane Anderson”™s new play about a high-class call girl sets out to challenge audiences about just how open-minded they really are about sexual matters. Going in to The Escort, I reckon I was fairly open-minded about the world”™s oldest profession – that is until the playwright tried to change my mind for me with her highly judgmental plot twists. The most shocking thing about The Escort is how readily the author sells her lead character down the river.

Review by Pauline Adamek

Now playing at the Geffen Playhouse, The Escort is about a sweet and charming high-class hooker named Charlotte (Maggie Siff) who starts seeing a different gynecologist, Rhonda (Polly Draper). Seeking to expand their relationship beyond doctor and patient to a level of friendship, pretty soon Charlotte has begun to infiltrate Rhonda”™s personal life, including interactions with Rhonda”™s ex-husband Howard (James Eckhouse) and their 13-year-old son Mathew (Gabriel Sunday). But when Rhonda”™s sexual morality is tested, she senses Charlotte is becoming a threat and reacts decisively.

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The play has an awkward prologue where two of the actors reveal the “˜naked”™ flesh-colored stocking suits, complete with pneumatic boobs and narrow landing strip. These are the costumes that they will be wearing throughout the show to lessen the distraction of actual nudity when required for various scenes. This costuming device, realized by designer Laura Bauer, is actually an effective distancing measure. The handful of actual sex scenes are graphic to a point, until Charlotte turns to the audience to announce, “I think you can fill in the rest.”

The most successful aspect of this problematic play is the authentic-sounding dialogue, especially the scenes between Rhonda and her hard-core porn-obsessed teenager who proves a master at manipulation and turning the tables on his mother during an argument.

Early on Charlotte explains in detail her work to her new doctor. She even describes what she calls her “˜pro-bono”™ work of sexually servicing residents of a Veteran”™s Hospital with compassionate visits. “That”™s the work that feeds my soul,” she murmurs. Later in the play Charlotte uses similar terms to justify an annual gang-bang gig, where she takes on thirty-plus sports players over a weekend. It”™s a fascinating insight to what makes this working girl tick. Unfortunately we, the audience, are guided to align our morals with the Rhonda character, so that when Rhonda eventually turns on Charlotte, we are supposed to share her righteous indignation.

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Anderson is an Emmy and Ovation Award award-winning and nominated writer for TV; for The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom (1993); The Baby Dance (1998) also Mad Men. The playwright herself declares The Escort to be “probably the most provocative and dangerous play” she has ever written. Perhaps it is. Yet it”™s difficult to account for the abrupt shift in tone in Anderson”™s play from liberal-minded compassion to judgment and revenge. Perhaps Anderson was under pressure to make her play more palatable for the Geffen Playhouse audience?

Anderson”™s play touches on some outrageous topics and themes yet this examination of sexual politics is, at times, boringly presented. Despite my misgivings, The Escort remains an interesting if flawed work.

Geffen Playhouse

10866 Le Conte Ave., Westwood.

Runs until Sunday, May 8, 2011

Tue.-Fri, 8 p.m.;

Sat., 3pm and 8 p.m.;

Sun., 2pm and 7 p.m.

Running time:

Approximately 2 hours and 25 minutes with a 15 minute intermission.

Tickets:

are $45.00″”$75.00, plus booking charges.

Box Office:

Purchase here or call the box office on (310) 208-5454

ABOUT THE GEFFEN PLAYHOUSE

The Geffen Playhouse has been a hub of the Los Angeles theater scene since opening its doors in 1995. Noted for its intimacy and celebrated for its world-renowned mix of classic and contemporary plays, provocative new works and musicals, the Geffen Playhouse continues to present a body of work that has garnered national recognition. Named in honor of entertainment mogul and philanthropist David Geffen, who made the initial donation to the theater, the company is helmed by Producing Director and President of the Board Gilbert Cates, Artistic Director Randall Arney, Managing Director Ken Novice and Chairman of the Board Frank Mancuso. Proudly associated with UCLA, the Geffen Playhouse welcomes an audience of more than 130,000 each year, and maintains an extensive education and outreach program, designed to engage young people and the community at large in the arts. For more information, please visit their official site.