This seems promising, but it never actually goes anywhere. Maxine and Dorothy butt heads and bicker but never in a way that propels the plot or creates noteworthy moments of comedy. While the concept of a middle-aged woman becoming so fed up with daily life that she views a retirement home as an escape does have comedic potential, playwright Lori Fischer relies too heavily on the premise alone to carry the play.

It’s also worth mentioning that the script is riddled with plot holes. The way that Dorothy worms her way into Greener Pastures makes no sense — which may have been forgivable had the play been a complete farce, but it is far too earnest in its need for Dorothy to learn a lesson. The other issue is that even if it were a farce, it’s not consistently funny. Some of the jokes fall flat, resulting in an uncomfortable viewing experience, as punchlines are met with stifling quiet from the audience.

Credit: Photo by Casey Gardner Ford

Credit: Photo by Casey Gardner Ford

Still, the script is not without its charms, and there are some funny moments. One particularly amusing bit finds Maxine repeatedly dyeing her hair like an overly emotional college student. Robert Hindsman also provides welcome laughter as Mr. Raymond, the superintendent of Greener Pastures. Hindsman is the North Star — a bright spot of genuine comedic execution in an otherwise clumsy production.

The rest of the cast is not untalented, but it feels like director Tiffany Porter instructed them to perform their roles as broadly as possible, creating an almost cartoonish feeling to their performances. That might have worked if the script had been funnier, but, as it stands, it feels like the play is trying too hard to get the audience to laugh.

Shout-outs in “Greener Pastures” are owed to Marguerite Hannah, who plays Dorothy’s overbearing mother, Bea; Gina Rickicki, who plays Dorothy; and Kelly Criss, who plays Maxine’s best friend’s boozer of a daughter. The rest of the cast is likable in their respective roles, but there is only so much to be done when the script is working against you.

The production looks good: Isabel and Moriah Curley-Clay have done their characteristically brilliant work on the set design. Take particular note of the front wall of the retirement home, which rises to reveal Maxine and Dorothy’s apartment. Alisha Monique also has some fun with the costumes, especially those of Dorothy and her fellow kids’ show actors. And Isaac Burrier discovers several striking opportunities for the lighting design.

As a final point, I would be remiss not to question whether the meaning of this show is to allow senior citizens to take up space within the context of a screwball comedy. I will say that “Greener Pastures” makes a point of allowing the elderly to be flighty and emotional, while still offering compassion for the things with which they struggle. However, if the point is to center the lives of older people, then why is Dorothy the main character of the play?

Perhaps some viewers will connect with this show, particularly if they feel some emotional familiarity with the characters — artistic director Ann-Carol Pence, for example, makes it clear in her program notes that the characters at the retirement home remind her of her own mother. However, for the rest of us, “Greener Pastures” will inspire us to move onto others.

THEATER REVIEW

“Greener Pastures”

Through April 14 at Aurora Theatre. $11-$60. Lawrenceville Arts Center, 128 E. Pike St., Lawrenceville. 678-226-6222, auroratheatre.com.

::

Luke Evans is an Atlanta-based writer, critic and dramaturg. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front Theatre and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.

Credit: ArtsATL

Credit: ArtsATL

MEET OUR PARTNER