The True

B

This new play by Sharr White (The Other Place), now at The New Group, offers a wonderful vehicle for Edie Falco’s return to the New York stage. For many, including me, that is sufficient reason to celebrate. Better yet, she is supported by a terrific cast that includes Michael McKean (The Little Foxes, Hairspray), Peter Scolari (Lucky Guy, Sly Fox), Glen Fitzgerald (Ripcord, Lobby Hero) and John Pankow (Dada Woof, Papa Hot; "Episodes"). The setting is 1977 Albany where potty-mouthed, no-nonsense Polly Noonan (Falco; Frankie and Johnnie in the Claire de Lune, House of Blue Leaves, “The Sopranos”) has been working as assistant to Mayor Erastus Corning II (McKean) for 35 years. Her long-suffering husband Peter (Scolari) has learned to survive by keeping a low profile and trying to ignore rumors that his wife is more than Corning’s assistant. Corning has been not only a boss but a close friend to Polly and Peter. When the death of the local Democratic Party chairman sets off a power struggle, Corning suddenly and mysteriously cuts off relations with the Noonans. Discovering the reason is the rather weak hook on which the plot is hung. Despite the pain of being frozen out, Polly loyally plows ahead to insure Corning’s success in an upcoming primary. During her efforts, she meets secretly with slick Howard Nolan (Fitzgerald), the man running against Corning, and wily Charlie Ryan (Pankow), the politician pulling Nolan’s strings. In a related subplot, Polly invites Bill McCormack (Austin Caldwell; Intimacy), a dim young man she is attempting to recruit to Corning’s team, over for dinner with hilarious results. Sharr has a flair for snappy dialogue, but resorts to shouting matches a bit too often. The view seen here is enough to make one nostalgic for the heyday of urban machine politics where the worst sculduggery was an envelope with a $5 bill in it on election day. The depiction of how little opportunity there was for a strong woman in 1977 politics reveals one aspect of the down side of that era. The main feature of Derek McLane’s (Jerry Springer — The Opera, Sweet Charity) set is floor-to-ceiling bookcases decorated with a variety of table lamps that initially depicts the Noonan’s home and morphs, with varying degrees of success, to several other locations. The period costumes by Clint Ramos (Sweet Charity, Violet) are spot-on. Scott Elliott (Good for Otto, Evening at the Talk House) directs with assurance. It’s not a wonderful play, but it’s quite entertaining. Running time: one hour 45 minutes, no intermission.

Intimacy **

The previous play I saw by Thomas Bradshaw -- "Burning" in 2011 -- made my Ten Worst list for that year, so I was not looking forward to Bradshaw's new X-rated comedy at The New Group. This muddled satire about sex in suburbia has lots of nudity and simulated sex but not much point. In the first act we are presented with the sexual proclivities of three neighboring families who get together in the second act to produce a neighborhood porn film. The graphic sex is more comical than erotic. The characters are a jumble of unconvincing traits and the plot, such as it is, makes very little sense. Bradshaw's desire to shock often serves no apparent purpose; he throws in a toilet scene with sound effects and a vomit scene to up the gross-out factor. A subplot about casual racism seems almost an afterthought. To see such fine actors as Daniel Gerroll, Laura Esterman and Keith Randolph Smith involved in this evoked a mixture of admiration and pity. David Anzuelo, Austin Cauldwell, Ella Dershowitz and Dea Julien all look good with their clothes off. Derek McLane's set with a candy color backdrop and quilted walls makes good use of the extremely wide stage. Director Scott Elliott also designed the costumes. Running time: 2 hours 15 minutes including intermission.