Theater Reviews

May 17, 2008 - "Steambath," a play to die for, is having lots of fun at Reno's Bruka Theatre

By Jack Neal

Three little words - life, death, laughs - sums up playwright Bruce Jay Friedman’s black comedy “Steambath.” “Steambath,” a too-rarely-seen play, is being given an excellent run for its money at Reno’s Bruka Theatre weekends through May (2008).

"Steambath" made its off-Broadway debut in 1971. As you've probably already guessed, the play is set in a steam room where men lounge about draped in towels having a sense of fellowship and occasional cross words. It’s the cross words uttered by Old Timer, a hilarious Jim Martin who bitches his way through the fog, in the direction of the obnoxious Bierberman, belched into under-the-skin annoyance by Andy Luna, that gets most of the laughs. Like Frick and Frack, Martin and Luna are a snapshot of sharp comedic timing.

Fun as things are, there’s an uneasiness about this seedy steam room. Things are not as they seem. Tandy, the hero of the play, perceives something amiss when a nude blonde beauty named Meredith strolls into the shower. For obvious reasons (sex and steam rooms have a natural affinity), Tandy strikes up a conversation with Meredith. They come to the conclusion everyone in the room, a kind of purgatory of the absurd, are dead; and - as an added bonus - God is the attendant handing out towels.

It’s Tandy’s arguments with God that constitute the play. It’s during Tandy’s running exchange with God – a.k.a. Morty the attendant and a Jamaican – that we learn about Tandy’s life and the lives of the play’s other bizarre characters. Tandy argues that he shouldn’t be dead. He’s writing a book about Charlemange, has shed his wife and has a mistress who takes care of his every need. “Steambath” is a philosophical argument about the meaning of life that is funny, touching and enough off center to be consistently interesting.

In a humorous and frantic performance, Tandy is played with charm and an iron will by Scott Dundas. Playing Meredith, a blonde air head, Patty Knutson is delightfully vacuous and unconcerned about what happens next. The sensational Jorge Hoyos is God (Morty), and he could not be better. As to his heavy Jamaican accent, to which the disbelieving Tandy objects, God reminds him “the lord speaks in mysterious ways.” John Wade plays Gotlieb, God’s right hand man. It’s a juicy part that Wade spins into high, high camp.

Playing two gay lovers (some steam rooms nurture homoerotic behavior) Tommy Vereen and Trent Lott (whatever happened to Senator Craig) stop short of using every gay stereotype in the book because they’re not on stage enough to complete their list. Bill Ware plays a stock broker still playing the odds and there are lots of odds in this steam room to play. In less involved roles, Nikki Bracco and Lewis Zaumeyer are effective.

Mary Bennett has directed and exhibits an empathy for black comedy. She keeps the play light and fast-paced while giving vent to its darker emotions. Lewis Zaumeyer’s set design is a remarkable replica of a steam room. Alex Biber’s choreography – the show sports two episodes of song and dance – while not steamy, is up to the show’s meager musical-comedy demands. David Simpson’s lighting is imaginative.

A good production of “Steambath,” which this is, is provocative theater and should foster equally provocative after-theater conversations. In which case the fun and puzzlement of “Steambath” (it runs two hours and twenty minutes with intermission) plays on.

“Steambath” can be seen at the Bruka Theatre, 99 North Virginia Street, Reno, Nevada, May 9, 10, 15 (the performance reviewed), 16, 17, 22, 23, 24, 29, 30, 31 (2008) at 8 p.m. and May 25 (2008) at 8 p.m. For information call 775-323-3221 or go on line at www.bruka.org.