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He is even more amusing as Queenie’s clone, who possesses a comedic, childlike clumsiness. After viewing him act in one of his own plays, this critic believes he would be better off pursuing a career in acting, perhaps joining Turner, who, although a first-rate actress, is given very little to work with here. She works gamely with what she is given (even if too much of it is mischievously adolescent double-entendres), but this critic, who had the pleasure of seeing her in the recent Broadway revival of Who’s Afraid of Virginia Woolf? was frustrated at witnessing such a first-rate actress in a role that asks so little of her.
Aside from a brief turn as Dr. Hudson’s sidekick, Turner remains in the non-fictional narrative of Peg and Drew, which is the least suspenseful and entertaining story in the production. Lost in the shuffle of simply too much happening onstage, the story of the mother and son loses clarity and eventually becomes what it was spoofing. It is a sad thing to witness a story of great potential stumble and become something without focus or effect.
The title of the play refers to Busch’s (and Peg’s) belief that it is the third time a draft is revised that everything clicks into place and the story really begins to come together. Perhaps another revision of the script was necessary before bringing this show to the stage. |
