Everything’s Fine – Appearances Lie

“This is not just based on a true story, but an absolutely true story in every detail,” director John Lithgow tells us in a voice-over preceding performance. “Deep in the Heart of Texas” introduces author/performer Douglas McGrath who hails from the oil and gas state where “an endless prairie wind could push you home on a bike.” As an actor, McGrath is open, likeable. He looks at his audience, occasionally zeroing in on someone in the front row.

His story is bookended by family – cultured New York parents accidentally meeting and staying in Texas; glass eye anecdotes – not his eye. Think Garrison Keillor or Truman Capote. In the eighth grade, life changes. When he was 14, a new history teacher arrived at school. Unlike peers who used hair spray with cement content, 47 year-old Mrs. Malenkov wore hers loose and down. She had the class colorfully paint homeroom – “compared to other teachers’ rooms, it was Haight Ashbury” – and tried to make learning fun.

The audio system plays “Teachers Pet.” Mrs. Malenkov singled out Douglas for conversation after class. It seemed circumstantial. He felt special and enjoyed being addressed as an adult. Blue onionskin notes began to appear in his locker. Student and teacher met all week. It seemed innocent. The boy’s hormones hadn’t kicked in yet and she was his teacher for God’s sakes!

Then Douglas received an invitation to meet at her house for hot chocolate. “Even a person of the dimmest intelligence would see a red flag.” This person did not. Side by side on a couch, his teacher explained the meaning of “a platonic relationship.” The boy finally felt uncomfortable and determined not to continue… but the notes, written with increasing hurt and apparent confusion, continued. Communication neither stopped nor resumed being entirely professional.

Interestingly, Douglas never grew alarmed. He never judged the older woman or considered alerting anyone. A plan was needed and concocted, it’s risk and absurdity acknowledged only in retrospect. The boy handled a fraught situation.

It’s easy to see what appeals to Director John Lithgow about this piece. McGrath reminds one of the actor. There’s gentleness, sensitivity and authenticity to performance and storytelling. Curiously, the hero never got really upset about circumstances that might easily set other teenagers off. As it’s written, it’s played. Lithgow does what he can to keep the solo from becoming visually static, which is not much, but sufficient. Gestures are minimal, pacing excellent. I found it a little long.

Emma Wailk deserves a call out for sound design which is not only pristine but features intermittent pop music perfectly suiting mood shifts

Photos by Jeremy Daniel

Everything’s Fine
Written and Performed by Douglas McGrath
Directed by John Lithgow

DR2 Theatre
103 E 15th St  https://www.everythingsfineplay.com/