Five Models in Ruins, 1981 – What’s the Big Picture?

by Charles E. Gerber

FIVE MODELS IN RUINS, 1981 by CAITLIN SAYLOR STEPHENS directed by MORGAN GREEN is currently performed at Lincoln Center Theater at THE CLAIRE TOW located in The Lincoln Center Plaza adjacent to The Vivian Beamont and Mitzi Newhouse Theaters through Sunday, June, 5^th by Charles E. Gerber

Andre Bishop, the Producing Artistic Director of the LCT3, the three theaters at Lincoln Center Plaza at 150 W. 65^th St in midtown Manhattan created the Claire Tow Theater that houses 110 seats in order to provide a venue of intimate dimensions, yet state of the art technical resources, in serving “the next generation of theater artists and to engage new audiences”.  Kaaron Briscoe is Interim Artistic Director of LCT3.

I’d never been to this venue before in my five decades of attending New York theater and, once my theater going companion and I  found it, was pleasantly surprised with the warmth of the staff, the comfort of seating, the impressive set by AFSOON PAJOUR of a dilapidated European estate, and the presence, before the commencement of any dialogue, of a distinguished member of our theatrical community, ELIZABETH MARVEL(portraying the photographer, Roberta), arranging furniture, props,, lights, and whatever is on hand standing and collapsing to create the ideal environment for a highly coveted opportunity: shooting a fashion display for the cover of Vogue.

The year, as the title of the play clearly states is 1981, and shortly after the sensational ceremony of Prince Charles and Diana. The pretext being that five international models that seem to correspond to Diana’s age will wear the five newly designed wedding gowns that the British bride had turned down! The stakes for the experienced Roberta could not be higher and are apparently compounded with this assignment coming from the magazine ‘s editor being the love of her life, and that that love would appear to be less than requited.

Enter the models; Chrissy (STELLA EVERETT), Alex (BRITNE OLDFORD), Tatiana (MAIA NOVI), & Grace (SARAH MARIE RODRIGUEZ). That’s merely four. The fifth is a no show.

That is merely the first of mishaps during the course of this soon to be discerned doomed shoot. Roberta was promised 5 models from among the most prestigious of international agencies. As she waits in vain for the fifth to show up to this remote location, she waits also for the person assigned to do the hair and make-up for the young lovelies. Roberta suggests to the four present to attend to their own facial and head adornment and to actually share their own equipment. This strikes the majority of the assembled as horrific.

Thus, the general mood and ethos characteristic of these subjects is one of immeasurable narcissism and selfishness. It’s somewhat modified by the least experienced and jaded of the group. And midway, the hair and make-up person arrives despite a drenching storm (great sound and light effects!) in the character of Sandy (MADELINE WISE), who it turns out is not merely an old friend of Roberta’s, but is indeed a former model herself who can wear the fifth designer gown and help her photographer friend with this coveted cover assignment. I believe that sums up the plot or as Shakespeare would say,” argument” of the narrative.

 As to what this play has to say to the audience, I’m afraid I am at a loss. Is it supposed to be a comedy? There was nary a concerted laugh last Sunday night with the audience eager to like it. My companion, who happens to be a professional photographer and veteran of many a model shoot, found the play practically devoid of verisimilitude. The characters of four of the five models seemed to be universally vapid, which has not been my personal experience with those professionals of whom I’ve come to know, admire and respect for the demanding work they’ve taken on.

The marvelous Ms. Marvel, and she invariably IS, works valiantly to shape a character with whom we can empathize, and comes as near I suppose as is possible with the text supplied by Ms. Stephens, and the stagecraft directed by Morgan Green. As for the other members of the cast, Ms. Wise supplies, as her being the next close to being a three-dimensional character, adds a plucky sweetness as she attempts to be a bulwark to the collapsing of the entire endeavor.  

I don’t know. This simply was NOT my cup of tea or any beverage to coincide with this cynical occasion involving fashion discards from a doomed princess. Maybe that’s the point the playwright is framing, but in terms of the big picture, it eluded this reviewer to his dismay.

 Still, I applaud the mission of Mr. Bishop and this intimate venue. May it well endure and display many a play that provides more nourishment than the usual diet of any one of these title characters.

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