By Wendy Rosenfield
This year marks the second Fringe Festival appearance for Eric Singel’s The Wedding Consultant. Singel’s comic solo show visits same-sex marriage and the notion that “one wedding is just like another.” Since the piece premiered in 2007, the number of states recognizing gay marriage went from one to six, and no doubt the number of wedding planners surely surged accordingly.
However, the production, directed with an eye for forward movement by Jose Aviles, is less about Singel’s drag character Iris Holcombe, a down-to-business party planner with innumerable personal prejudices, than about the impending moment when a platter of assorted clashing personalities gets served up at the church.
Those personalities--party boy groom Lance, classy groom Leslie, nice-guy best man Mike, Leslie’s lesbian mom Rhonda, and Lance’s Texan mom Bobbi Sue (who thinks her son’s soon-to-be-bride Leslie must be a real catch)--all take turns offering up slices of their lives.
Just as at any get-together, some conversation time is better spent than others. Watching Singel’s Lance pretend to be wasted is about as interesting as watching anyone pretend to be wasted. It’s only after 10 minutes of slurring and pill-popping, when he backbites the very friends who planned his bachelor party, that we gain insight into his character.
But Mike, a third-generation cop and first-generation gay cop, anchors the production with a surprising (and I’ll admit it, surprisingly butch) depth. The others? Well, they’re colorful, and Singel, while celebrating marriage equality, adds another maxim to Holcombe’s assessment of nuptial sameness: Be careful what you wish for, because you might get it.
$20, Sept. 9, 10, 14-18 at 8PM, Sept. 11, 18, at 2PM, Walnut Street Theatre, Studio 3, 825 Walnut St.
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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.
