Corrections or additions?

This review by Simon Saltzman was prepared for the October 25,

2000 edition of U.S. 1 Newspaper. All rights reserved.

Review: Lily Tomlin in `Search for Signs’

If you thought Homer had a good story to tell in

"The

Odyssey," wait until you hear the fantastical tale, featuring

some equally strange characters, that Lily Tomlin is spinning at the

McCarter Theater. When Trudy, a crazy, philosophizing bag lady, is

chosen by adventuring space aliens as their perfect conduit for

researching

intelligent life in the universe, she explains the phenomenon thus:

"My space chums think my unique hookup with humanity could be

evolution’s awkward attempt to jump-start itself again."

This is also Tomlin’s attempt to jump-start herself again as a stage

performer in her partner and tied-in-consciousness collaborator Jane

Wagner’s 1985 one-woman, multi-character play, "The Search for

Signs of Intelligent Life in the Universe." Tomlin doesn’t really

need a jump-start, she just needs an audience: "I’m so glad that

you came tonight. I sometimes worry no one will show up, and without

you, there’d be little point in me being here," she tells us.

The point is that although the title has more words than you may care

to remember, the play is also filled with dialogue that you wish you

could remember and quote at will. And how many plays can you say that

about? Simply but effectively designed (kudos to Klara Zieglerova’s

cosmic setting, Ken Billington’s blazing lighting, and Thomas Clark

and Mark Bennett’s super sound effects), `The Search’ remains one

of the more extraordinary solo dramatic narratives to be created for

the stage. Certainly there have been one-woman and one-man shows

through

the years that have earned praise for performance, content, and style,

but none — I assure you — has ever even remotely attempted

to balance drama, comedy, social, and political satire with such wit,

originality, and depth.

The impact of the play, under Wagner’s direction and with Tomlin’s

dazzling performance, was considerable when it first appeared on

Broadway.

As tweaked and polished as it is for this revival, time and

temperament-specific

resonances prevent it from having the fresh punch of the original.

Unable or unwilling to entirely bridge the gap between the time it

was written and the present, we note how the persona of the bag lady

still seems anchored in the ’80s, just as her hookers’ points of

reference

still belong back then. The McCarter engagement follows more than

a year’s cross-country tour of the resuscitated play, and precedes

a 10-week Broadway run at the Booth Theater, set to begin November

11.

Contrary to any misguided belief, it is Wagner and not

Tomlin who is responsible for every word of the text (or so we are

informed) that is, nonetheless, an amazing maze of narrative

ingenuity.

Notwithstanding the minor changes of a script that was expanded 15

years ago for the extremely popular published version, the play is

still filled with the same odd and endearing characters. They run

the gamut in both age and intelligence and provide the incredibly

energized and agile 61-year-old Tomlin with just the latitude and

longitude she needs to fully inhabit a world of the wild, wacky, and

wondrous.

There is within the content and context of this duo’s collective

artistry

a vivid, moving landscape of contemporary Americana. If that landscape

has been altered by the normal tide of evolving and dissolving psyches

and the blending of once easily recognizable types, we can still react

positively to the play through Tomlin’s personalized brand of

therapeutic

psychomania. A Tony Award-winner for this show, Tomlin has, if

anything,

grown in her ability to bring compassion as well as laugh-out-loud

physical humor to what is human in Wagner’s characters.

The varied and colorful characters that parade through this often

dark social satire do not, however, include such stalwart Tomlin

personae

as Ernestine, the telephone operator, Tommy Velour, the lounge lizard,

or Bobbi Jeanine, the ersatz organist. Instead, look for a bag lady

in tune with extraterrestrials, a pair of savvy and sad New York

hookers,

a California feminist ("All right now, Trudy, don’t mess with

me. I am coasting on my own chemistry and I am volatile, baby"),

a hard-line lesbian, plus a bevy of inter-social, inter-media and

inter-planetary types converging in a commentary on the stagnating

times.

The ability to find humor in tragic circumstances and embrace a

comical

situation with poignancy is what makes Tomlin stand out among the

best of her peers. The Tomlin style, developed in New York cabaret

in the 1960s, nurtured on TV’s "The Garry Moore Show," and

"The Music Room," came into its own in "Laugh In,"

where she met Wagner and began their long-term relationship. Tomlin’s

movie career had its ups — "Nashville" (Oscar nomination)

— and its downs — "Moment by Moment" (with John

Travolta).

But mainly it was somewhere in between. A series of lauded TV specials

was the segue for a successful run in the 1980s on "Saturday Night

Live."

Now it’s Tuesday through Sunday live for Tomlin who never seems to

stop moving. Her body, and particularly her face, can manage a

dissolve

from one character to another without trickery. There is no waiting

for either inspiration or preparation. They are there at every

instant.

The interplay of character, in two-and-a-half hours (with

intermission),

without anything more than Tomlin’s unadorned artistry, except for

wearing basic black, may not fulfill everyone’s idea of theater. But

if a grand cabaret format is what the lady needs to display her (and

Wagner’s) wares, so be it.

Sometimes the jokes, consistently funny and trenchant as they are,

get in the way of characters on the verge of greater dimension, and

sometimes the busyness is essentially just dizziness. This nit-picking

aside, the wonder of Tomlin, is that we can always see, within her

rich, grab-bag humanity, a humor behind the sadness and raised

consciousness

behind "Agnes Angst." And as Agnes would say "To boldly

go (with no apologies to Princeton) where no punk has gone before.

Suburbia." "The Search" may be just what a therapist might

order to validate both the repressed optimist and the depressed

pessimist.

— Simon Saltzman

The Search for Signs of Intelligent Life in the Universe,

McCarter Theater, 609-258-2787. $29 to $42. To November 5.

www.mccarter.org


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