NEW YORK—There's double cross and scams aplenty in Theresa Rebeck's somewhat pedestrian but still very enjoyable "sinister comedy" (as it is being billed) Mauritius, now playing at the Biltmore Theatre on Broadway.
Into a philatelic shop owned by Philip (Dylan Baker), a somewhat sour and self-important man (if only to himself) walks Jackie (Alison Pill), a young woman with a stamp collection given to her by her dying mother. When the haughty Philip refuses to look at it immediately, Dennis (Bobby Cannavale), a hustler constantly looking out for his next big score, and who overhears the conversation, offers to take a peek. Having something of an eye for stamps himself, Dennis quickly notices the collection contains some very rare (and very valuable) stamps from Mauritius (an island nation in the Indian Ocean, off the coast of Africa). Realizing Jackie has no idea what the collection contains, Dennis plans to have her sell them to Sterling (F. Murray Abraham), an arms dealer with a passion for collecting things, for much less than the stamps are actually worth. But in order for this plan to work, Dennis and Sterling must first get Philip to authenticate the stamps and, considering the long-standing animosity between Phillip and Sterling, that may be something of a problem.
Another possible fly in the ointment is Mary (Katie Finneran), Jackie's older half-sister, who claims the stamps belong to her. Mary had long since left the family, leaving Kate to deal with her mother's long illness (and death) from cancer. Where Jackie sees selling the stamps as a way out of the financial morass her mother left her in, the more well-off Kate (who refuses to contribute a cent to help Jackie), wants them to go to a museum.
Taking the theme (and every person's dream) of finding antique treasures in their attic, garage, etc., Rebeck turns said dream into a sort of dark comic nightmare. The author gleefully exposes the seedy underbelly of the collecting world, where people don't want to deal with the IRS, or other legal ramifications, when making a major financial transaction. More than a few of the twists and turns in the story are somewhat predictable (a flaw in many Rebeck plays) and one can spot the ending long before it actually happens. However the situation and characters are such that the final denouement is more like having one's hopes validated rather than giving away what's about to come.
None of the characters are ones you would want to spend time with, but all are fascinating and fun to watch. Pill is good as the foul-mouthed Jackie, a person prone to angry outbursts who starts out as a seemingly naive girl from the sticks but turns out to be as savvy and street smart as those who plan to swindle her. Finneran is so ingratiating with her holier-than-thou attitude one wants to strangle her, so perfectly does she capture the character. Cannavale is good as a roguish con man, having fun as he plays one person against another, yet always aware that to get in over his head in this game may mean his ultimate downfall. Abrams is wonderful in the scenery-chewing role of man with an outward veneer of culture and an inner one of violence and rage. (He reminds one of a coiled serpent about to strike.) Baker is good in a mostly thankless role, but acquits himself well as the put-upon stamp dealer. Most importantly, the actors play off each other so well it feels like watching a verbal volleyball match, with each person keeping the flow of the story moving nicely. They're aided in this by the solid direction of Doug Hughes. Sets by John Lee Beatty and lighting by Paul Gallo work well.
Mauritius is a by-the-numbers story with no great revelations (though there are a couple of intriguing plot points left hanging), but it makes for a fun evening, and it's a chance to see some acting pros strut their stuff.
Mauritius
Presented by the Manhattan Theatre Club
The Biltmore Theatre
261 West 47th Street
Tickets: 212-239-6200 or www.telecharge.com
Closes: November 25, 2007
Judd Hollander is the New York correspondent for the London publication The Stage.
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