Boy Gets Girl

Reviewed by Holly Bartges

Haunting, almost to the point of being frightening because of its relevance to our world, Rebecca Gilman’s critically-acclaimed play Boy Gets Girl makes its regional premiere at Theatre Group’s Phoenix Theatre.

Emily Paton Davies as Theresa Bedell and Josh Hartwell as Tony Ross in Boy Gets Girl.

After being a part of this performance, one might think twice about blind dates. Because of this disturbing scenario, it would be sensible to see the show before considering a blind date.

Directed by Nick Sugar (Yes, he’s still Bat Boy in Theatre On Broadway’s production of the same name. Ask him how he did it.) with set design by Tina Anderson, Light Design by Ed Arend, and Sound Design by George Pulver, the outstanding cast transforms into believable people, in a scary situation, punctuated with some very funny lines.

In a bar in New York City, Tony Ross (Josh Hartwell) smooth talks Theresa Bedell (Emily Paton Davies) during a blind date. With nervous hands a twitter, Theresa and Tony struggle to keep the conversation going, to find common grounds. Hartwell slicks out the oily Tony. Something in his eyes says common ground isn’t exactly what he’s after. He’ll get what he wants at all costs. Hartwell is outstanding, and knows how to ooze Tony in sending shudders. He disappears from sight early in Act I, but his presence hangs heavily over the stage throughout the show.

Davies gives a highly-polished professional Theresa, an editor, the moves, the looks, the reality. For Theresa, the blind date ends.

Tony sends flowers, making numerous calls. He even drops by her office to see her. Theresa’s pleas to listen to her “no’s” go unheeded.

Jenny Valarde plays the scatter-brained secretary Harriet on a new job to the hilt. In her forgetfulness and near incompetence, it is her perception that aids Theresa with wisdom. Valarde is delicious with her well timed lines, providing humor in anxiety filled atmosphere.

In her whirl of nervousness, Theresa interviews Les Kennkat (Jim Hunt) a greasy, slimy but wealthy porn film producer. Theresa finds him repulsive, yet finds herself drawn to him. Exploiting women with his sleaze, he actually believes he celebrates women. He doesn’t care if actresses can act. For him, they must have big Tits and Asses. Hunt creates a character one would not want to meet in a dark alley.

restraining order doesn’t stop Tony from his pursuit.

Theresa slides from being highly annoyed to frightened, and rightfully so.

Scott Curl as the new employee (Mercer Stevens) wanting to please, has a lot of right macho answers for Theresa, but appears oblivious to the reality of Theresa’s growing fears.

As the cop, Madeline Beck, McPherson Horle carries her demeanor in strict business-like form, until Theresa’s torrential plight manages to crack her shell, and a nervous woman peeks through.

In fear, Theresa moves out of her apartment, resigns from her job, and ultimately, loses her identity. The annoyance of harassment has slid into Tony’s threat to kill.

The script gives little information about Tony, but Hartwell shows us how to read between the lines.

He doesn’t want to get the girl for a close intimate relationship. He wants to get the girl. He wants control and possession, from a distance.

And get her he does.

Provocative and thought provoking, Gilman’s play creeps under the skin and stays there. The run should be extended.