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Thursday, January 26, 2012
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Kevin Bergen and Bi Jean Ngo in InterAct Theatre Company's production of the satire "Microcrisis." Photo by Seth Rozin.

By Howard Shapiro
INQUIRER STAFF WRITER

Bankers are lending big money to poor folks who can never pay it back, Ivy League whiz kids are developing new ways to get interest on that cash, financial watchdogs grant high ratings to every scammer, the feds turn all their cheeks, and in the play Microcrisis — can you believe it? — it’s big fun.

Granted, you can argue fine points about the financial stuff, but not about the fun factor of Microcrisis, in InterAct Theatre Company’s dynamically wacky production staged by InterAct’s leader, Seth Rozin. It opened Wednesday at the Adrienne Theatre with a cast fully versed in the idiocies of the characters.

Mike Lew’s satire, in which the New York-based playwright takes everyone in the international financial crisis to extremes, is an all-out goof. A banker gets catatonic on the floor when a big federal official denies him an ease in regulations. The federal official can barely take time to consider the question while he volleys racketball shots around the super-cool court he’s built under the Federal Reserve offices. He breaks his game, then wipes up with a 2,000-thread-count Egyptian cotton towel for a moment of scheming.

Lenders take off to Monaco after popping the necessary ’ludes, and end up canoodling on a craps table. As quiz-show music plays in the production’s background, bankers swap gift-wrapped boxes of moolah. People make millions selling before the dominos fall, and throughout, a poor businessman who needed only a small loan is in a lifetime of debt from sales talk and ballooning interest.

And on and on it goes, an 80-minute romp that should be 70 -- but that’s a minor irritation. Lews’ play is aptly stupid in its depictions and deceptively smart in its construction. Every character represents some faceless part of the real crisis — a bank, the junk-money industry, government watchdogs. Even the woeful, ignored businessman speaks for a class of borrowers tantalized by greed and mired in denial.

Four of the six-member cast play multiple roles, the particularly flexible Frank X among them; as the head of New York’s Fed, he’s a real swell —the epitome of arrogance and entitlement. The show-stealer, though, is Bi Jean Ngo, as the securities rating executive whose emotion-wrought bang-bang delivery can rip up a room.

Kevin Bergen — often seen at People’s Light, where’s he part of the repertory — is the high-strung smarm-master who thinks all this up (it’s called micro-credit), Hannah Gold and Dave Johnson (Puck in Lantern’s Midsummer Night’s Dream last season) are high-octane university kids who become the faces of this mess, and Maia Desanti is the schoolteacher who throws her pension away.

The production is lifted into another zone by Mark Valenzuela’s sound, which makes all sorts of things that aren’t physically there seem real. You know, just like the bankers did.

Contact staff writer Howard Shapiro at 215-854-5727, hshapiro@phillynews.com, or #philastage on Twitter.
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Microcrisis: Presented by InterAct Theatre Company at the Adrienne Theatre, 2030 Sansom St., through Feb. 12. Tickets: $28-$35. Information: 215-568-8079 or www.interacttheatre.org.

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About Philly Stage
Howard Shapiro reviews and writes about theater for The Inquirer, and has been on staff since 1970. He's had many posts at the newspaper, including cultural arts editor and editor of the Weekend section. He's twice been the editor of the Travel section, for which he writes frequently. He began writing theater criticism a decade ago, and has been a Nieman Fellow at Harvard, an Internews fellow in Greece, and a fellow at the National Endowment for the Arts' Journalism Institutue in Theater and Musical Theater, where Robert Brustein was among his mentors. He teaches arts criticism and travel writing at Temple University, and is Broadway critic for the NPR-affliated stations of the Classical Network.


Toby Zinman's night job since 2006 is theater critic for the Inquirer. She also is a contributing writer for Variety and American Theatre magazine. Her day job: Prize-winning prof at UArts, author of four books about four playwrights (Rabe, McNally, Miller, Albee), and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). Her 'weekend' job as a travel writer provides adventure: dogsledding in the Yukon, ziplining in Belize, walking coast-to-coast across England, and cowboying in the Australian Outback.


Wendy Rosenfield has been writing freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She also writes the ArtsJournal blog Drama Queen. She was 2009 and 2010 Guest Critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute, a 2008 NEA Fellow in Theater and Musical Theater, and a participant in the Bennington Writer's Workshop. A graduate of Bennington College, she is inching toward a Master's degree in Liberal Arts at the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and a Brownie Girl Scout troop leader.