AT LONG LAST LEO
DemonLife Productions
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Though we never get to hear much of what’s in Leo’s tome, and most of the play’s characters don’t ever read it, it has an undeniable effect on all who come into contact with it, as they guess what might be contained inside. Leo’s sister Sheila, the bitter victim of a premature mid-life crisis, uses her perception of his theories to decide that she ought to take her young son and move to Seattle. Leo’s dad seems to confuse his son Leo Beagle with Leo Buscaglia, and uses something Leo writes about “everything connects” to declare that he’s having an affair. Leo’s mom sees the futility of her son’s efforts and relapses into a state of depression, while Leo’s old neighbor Gloria seizes on his optimism and tries to consummate the crush she’s had on him for the past 15 years.
Stein’s comedy may not change the world, but at least it describes the life of someone who wants to. Leo is a wonderful character, a rich, thoroughly believable creation whose energy pulsates through the script. And though Stein’s world seems to revolve around Leo, he has also created an excellent supporting cast, full of well-developed characters whose interactions smack of reality. The dialogue is crisp, funny, and moving, and for the most part the discussions be- tween characters are intelligent and thought-provoking.
The plot thickens when Morgan’s friend Bob O’Donnell arrives on the scene, having just offed a chef at a Chinese restaurant with a stalk of bok choy. Bob and Eve try to convince Morgan to obtain his inheritance; he claims that his mother was a poor waitress and made up the story about a rich family. The improbabilities and plot twists mount until one is not sure who, if anybody, can be trusted.
Art accompanying story in printed newspaper (not available in this archive): photo/Roger Lewin–Jennifer Girard Studio.
