Mary McCann and JoBeth Williams in Body Awareness. Photo by Doug Hamilton
The couple, Phyllis (Mary McCann) and Joyce (JoBeth Williams), has been together for three years. Phyllis teaches at Shirley State College, where she has been instrumental in arranging the guest artists and programs for the institution's celebration of "Body Awareness Week" – the more P.C. take that the college is putting on "National Eating Disorder Awareness Week." In addition to forums and symposia, the faculty has invited artists from around the world to help the students and themselves "check in" with their "own bodies, and then with our thoughts and judgments about other people's bodies." One of the visiting artists is Frank (Peter Friedman), a photographer who travels the country taking pictures of naked women (of all ages). His work he says is a way in which the subjects can reclaim their bodies and celebrate themselves. Frank's work appalls Phyllis and intrigues high school teacher Joyce, who contemplates posing for him, much to her partner's chagrin.
Even as the women navigate the impact that Joyce's decision has on their relationship, they're also trying to get Joyce's son, Jared (Jonathan Clem) into therapy to help him deal with his antisocial behavior and burgeoning addiction to online porn. During the course of "Awareness," Frank's presence at the school, and in Joyce and Phyllis' home where he's staying, has an effect on Jared as well: he turns to Frank for much-needed advice about women and dating.
Spanning just five days (the week of the "Body Awareness" celebration at the school), Baker's play investigates a host of image-related issues, that are not restricted to physicality. During the course of the play, religious identity, professional credibility and psychological soundness are all explored gracefully and subtlety.
JoBeth Williams and Peter Friedman in Body Awareness. Photo by Doug Hamilton
Under the sensitive direction of Karen Kohlhaas, who sees to it that "Awareness" unfolds with a leisurely pace that almost makes one feel as if they have retreated to the mountains of Vermont, the four-person ensemble turn in performances of nuance and heartfelt emotion. Williams imbues Joyce with a wonderful mix of maternal concern, gentle mid-life neuroses, and gentle yearning. Friedman's turn as Frank is remarkable for its subdued coarseness that makes it almost impossible to glean whether Phyllis' concerns about the prurience of Frank's work might be well-founded. As Phyllis, McCann delivers a performance of intelligence that's mixed with flightiness and flakiness as well as deeply felt insecurity. Clem's terrifically understated performance as Jared, his off-Broadway debut, proves to be exceptionally compelling.
"Body Awareness" unfolds with ease on a unit set from Walt Spangler that telescopes two stories of Phyllis and Joyce's home beautifully and indicates the rustic environs that surround the house and the college. Jason Lyons' lighting design bathes the piece in a sort of warm glow that matches the genuine affection that Baker has for her characters and the hopeful, but never cloying or contrived, resolution she gives to the play.
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Body Awareness plays at Atlantic Stage 2 (330 West 16th Street). Performances are Tuesday through Saturday at 8pm; with matinees Saturday at 2pm and Sunday at 3pm. Tickets are $45.00 and can be purchased by calling 212-279-4200 or by visiting www.ticketcentral.com. Further information is available online at www.atlantictheater.org
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