Though Aurora Theatre’s current production of Greener Pastures by Lori Fischer has a promising cast and premise, as well as humorous moments, the play leaves conflict to be desired.
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Questions on one’s mind as they sit down to watch Greener Pastures at Aurora Theatre might be “How did this end up on their season? Why would a company that has put out such consistent work choose such a middling, misguided script?” Whatever the motivation, Greener Pastures, which runs through April 14, fails to add value to Aurora’s season — which can be chalked up to the script’s inability to capitalize on its premise.
The play is set at the Greener Pastures Retirement Community, which happens to be next door to a TV studio where they record a kid’s show about singing food items. Dorothy, a 40-something frazzled actor from the show, realizes that she has had enough of following her manager’s dreams, decides to retire early and moves to Greener Pastures. She finds herself rooming with Maxine, an elderly resident who immediately resents her.
This seems promising, but it never actually goes anywhere. Maxine and Dorothy butt heads and bicker but never in a way that propels the plot or creates noteworthy moments of comedy. While the concept of a middle-aged woman becoming so fed up with daily life that she views a retirement home as an escape does have comedic potential, playwright Lori Fischer relies too heavily on the premise alone to carry the play.
It’s also worth mentioning that the script is riddled with plot holes. The way that Dorothy worms her way into Greener Pastures makes no sense — which may have been forgivable had the play been a complete farce, but it is far too earnest in its need for Dorothy to learn a lesson. The other issue is that even if it were a farce, it’s not consistently funny. Some of the jokes fall flat, resulting in an uncomfortable viewing experience, as punchlines are met with stifling quiet from the audience.
Still, the script is not without its charms, and there are some funny moments. One particularly amusing bit sees Maxine repeatedly dying her hair like an overly emotional college student. Robert Hindsman also provides welcome laughter as Mr. Raymond, the superintendent of Greener Pastures. Hindsman is the North star — a bright spot of genuine comedic execution in an otherwise clumsy production.
The rest of the cast is not untalented, but it feels like director Tiffany Porter instructed them to perform their roles as broadly as possible, creating an almost cartoonish feeling to their performances. That might have worked if the script had been funnier, but, as it stands, it feels like the play is trying too hard to get the audience to laugh.
Shout-outs in Greener Pastures are owed to Marguerite Hannah, who plays Dorothy’s overbearing mother, Bea; Gina Rickicki, who plays Dorothy; and Kelly Criss, who plays Maxine’s best friend’s boozer of a daughter. The rest of the cast is likable in their respective roles, but there is only so much to be done when the script is working against you.
The production looks good: Isabel and Moriah Curley-Clay have done their characteristically brilliant work on the set design. Take particular note of the front wall of the retirement home, which rises to reveal Maxine and Dorothy’s apartment. Alisha Monique also has some fun with the costumes, especially those of Dorothy and her fellow kids’ show actors. And Isaac Burrier discovers several striking opportunities for the lighting design.
As a final point, I would be remiss not to question whether the meaning of this show is to allow senior citizens to take up space within the context of a screwball comedy. I will say that Greener Pastures makes a point of allowing the elderly to be flighty and emotional, while still offering compassion for the things they struggle with. However, if the point is to center the lives of older people, then why is Dorothy the main character of the play?
Perhaps some viewers will connect with this show, particularly if they feel some emotional familiarity with the characters — Artistic Director Ann-Carol Pence, for example, makes it clear in her program notes that the characters at the retirement home remind her of her own mother. However, for the rest of us, Greener Pastures will inspire us to move onto others.
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Luke Evans is an Atlanta-based writer, critic and dramaturg. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front Theatre and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.