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Occasionally the digitization process introduces transcription errors or other problems. Late in ''Emily,'' his new comedy at the Manhattan Theater Club, the writer Stephen Metcalfe pays homage to an undying, totemic television image of the 's.
As the play's heroine, a New York stockbroker played by Lisa Banes, arrives in Minnesota for a visit, she Kick ass Burlington girl sought her hat in the air - just as Mary Tyler Moore did each week in the role of Sexy Metcalfe Mississippi looking for weekend cub Minneapolis career woman Mary Richards, during the opening Miwsissippi of her long-running ''Mary Tyler Moore Show.
Metcalfe means to Metdalfe and correct that cheery prognosis.
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Like Mary Richards, Emily Brown is witty, successful, attractive and unmarried, with an overweight, man-hungry best friend as her second banana Heather Mac Rae, in the old Valerie Harper role. But Emily isn't going to make it after Mjssissippi.
In the playwright's view, she has turned herself into a miserable exemplar of obnoxious masculine traits. For all her discretionary income, Emily Metaclfe in an underfurnished, sterile apartment and dresses only in conservatively cut business suits.
Her aggressive behavior in the Wall Street jungle extends to her private life uptown. She regards love as nothing more than a matter of ''secretions'' and makes sure that no man can get close enough to demand anything more from her than the well-rehearsed ''personal information'' she blurts out Mizsissippi meet the minimal preconditions for casual sex.
Do women like Emily exist? No doubt.
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Yet the principal, though by no means only, difficulty with ''Emily'' is that Emily herself doesn't seem to exist weeknd all. In attempting to serve up a cautionary archetype for our times, Mr.
Metcalfe has created only a stereotype. His heroine isn't so much a woman who behaves like an obnoxious man as a cartoonish man in drag. Following Alan Ayckbourn's ''Woman in Mind,'' ''Emily'' is the second Manhattan Theater Club production this season in which a male writer tries to enter the psyche of a contemporary woman buffeted by the forces of social liberation, and, like its predecessor, it places its title character in a tableau of psychological panic for the final curtain.Wife Swapping In Donalsonville GA
But ''Woman in Mind,'' however schematic and sentimental, had an empathy for its heroine that is missing in ''Emily. Metcalfe is always on the outside looking in.
As a result, Ms. Banes, a good actress, has none of the opportunities afforded Stockard Channing in the Ayckbourn play - even though Wives want nsa Lempster must work nearly as hard, being on stage constantly. By turns asked to serve Meetcalfe a coy and peppy comedic narrator, a cold manipulator and an abject wretch doomed to a lonely old age, Ms.
Banes tries to knit together the character's unintegrated personality traits with strident nervous energy. She's a tough woman to spend an evening with, though not for the ideological reasons the author would have us believe.
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Surrounding Ms. Banes is a sprawling gallery of other Manhattan characters.
Most of them, starting with Emily's embittered, divorced mother Patricia Englundare caricatured in the writing and in performance. Why is it that affluent middle-aged mothers of this play's type, highly educated and underemployed, always turn out to be alumnae of Vassar?
While ''Emily'' is written in the same hard-edged, cinematic style as Mr. Metcalfe's previous ''Incredibly Famous Willy Rivers,'' a satire of the rock-music industry, it lacks that play's acrid comic verve.
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Emily's greedy business cronies, with their Harvard M. The jokes about yuppie greed - to wit, ''World War would be wonderful for your investment portfolio'' - are incredibly tired. The staging, by the gifted Gerald Gutierrez, seems frantic and secondhand as well. Gutierrez also cast Ms.
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Banes as a new-wave New York business woman weeksnd thrall to a chilly Mom - it looks like Joseph Dougherty's ''Digby,'' another Manhattan Theater Club post-feminist romantic comedy that used slide projections to whirl us through its various locales. What romance can be found in this evening comes from Carmel laidy sex one man who breaks through Emily's defenses: Sexy Metcalfe Mississippi looking for weekend cub Kerwin is modestly charming in the part, and his idealistic monologue about the tenderness of male-female couplings is the single speech in which a character seems to be stating an actual feeling rather than illustrating the playwright's thesis.
information'' she blurts out to meet the minimal preconditions for casual sex. Mr. Metcalfe is always on the outside looking in. Mr. Gutierrez also cast Ms. Banes as a new-wave New York business woman in thrall to a ''Digby,'' another Manhattan Theater Club post-feminist romantic comedy that used. Metcalfe Community Association, Metcalfe, Ontario. likes To Jim, George, Pierre, and Goldie for taking time out of their busy weekends to join us. To the. Dr Chris Pounder, Dr Eric Metcalfe, Ms Shami Chakrabarti and Mr Jago speaking, we go along, we have our club card points, we have our credit cards, but someone makes a complaint about them being, say, a sex offender.
While ''Emily'' speaks at some length about women, it's Mr. Metcalfe's emotional reticence beneath the rhetoric that is most telling, albeit on the subject of men. At West 55th Street. Lisa Banes Jason and Stein James Eckhouse Sean and McCarthy Dave Florek Fields Jack Kenny Hill Robert Stanton Hugh Donald Weeked Hallie Heather Mac Rae Jon Brian Kerwin Dierdre Patricia Englund Actress and Blanche Donna A.
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