Good For Otto--Superlative Performances

By Joseph Cervelli

While David Rabe’s  latest play “Good For Otto” presented by The New Group at The Pershing Square Signature Center is very well written and, at times, quite affecting,  the major reason to see it is the superlative cast. The actors are so accomplished in their roles that it is one of the best ensembles I have seen this season. 

While the play which takes place in an out patient mental health facility near the Berkshire Mountains is absorbing and should keep your full attention for the nearly three hours, the problem is that it never really develops into a full fledged play mainly because there is no interconnection between the characters. This is especially the case at the end of the first act when you may find yourself asking, “Where’s the play?” In all fairness the second half while never fully coalescing is better. There are two or three scenes where the patients are all parading around singing which is gimmicky and you are not quite sure if this is actually taking place.  However,  by the play’s conclusion I felt the point was that there was hope for all of them and that some positive results will occur from their individual therapy sessions. 

Therapy sessions is what really rules this play. The always excellent Ed Harris portrays Dr. Michaels one of the therapists while the other is Amy Madigan as Evangeline. It is hard to get a good grasp on Evangeline. She is caring although at some pivotal movements during sessions tells patients rather abruptly that time is over. Yet, Michaels is suffering from his own demons besides having to help patients on the throes of  sorrow, despair and destruction.  At age nine he discovered his mentally ill mother who just  committed suicide. Throughout the play his deceased mom (Charlotte Hope) has conversations with him.  While bringing back the deceased works in some plays here I found it  to be a rather unnecessary contrivance. What makes less sense is when a young girl named Frannie of about 12 who is seeking help for being a cutter converses with Mom. She is brilliantly portrayed by Rileigh McDonald who gives one of the best performances I have seen, thus far, this season. Her searing emotions and frightening screams are incredibly realistic. Equally good is Rhea Perlman who is her foster mom at a loss how to help her.

It is a pleasure to see F. Murray Abraham in any show and he is terrific as Bernard an older man who had refused to get out of be bed for a long period of time. He speaks about his early childhood and how it has affected him today. Rabe under Scott Elliott’s caring and thoughtful direction has carefully dissected this character even more than the others. 

Another standout is Malik Pancholy as Alex a young gay man who is trying desperately to find love even if making up stories about meeting someone in a bar.

There is also Jerome (a fine Kenny Mellman) who shares a house with his mother and to keep from living on his own in the basement apartment keeps accumulating boxes of various items which he says won’t fit. A not very good excuse. 

Mark Linn-Baker is perfect as the socially inept Timothy who wants to make friends but unintentionally proves too pushy and becomes creepy in his approach although he is as gentle as his unseen hamster who has to undergo surgery. I never thought I would be so concerned  about a hamster but Linn-Baker is so adept in his beautifully conceived performance that you are rooting for this rodent to make a speedy recovery. 

There is also a strong indictment against insurance companies and the bureaucracy doctors have to go through to get the necessary  help between for their patients. There is a realistically upsetting interplay between Michaels and Marcy (Nancy Giles) who works for the insurance company involved and is only concerned with the cost to her company. 

While all the individual sessions are wonderfully told, not having even a few of the characters come together (I am confounded as to why Rabe did not have, at least, one or two group sessions) lessens the effect of this play. 

Derek McLane designed a large and antiseptic community room which works quite well.

Despite my reservations, the performances are of such a high  believable caliber it is most definitely worth a trip.

Tickets are available at the The Pershing Square Signature Centre 480 West 42nd Street or by calling 212.279.4200.

PHOTOS: Monique Carboni