Theater review: PlayMakers stages highly satisfying ‘Seminar’

The extremely competitive world of fiction writing is the central subject of Theresa Rebeck’s 2011 Broadway play, “Seminar.” It’s also about integrity, talent and self-awareness – and often the lack thereof. PlayMakers Repertory Company makes a strong case for this sometimes-frustrating comedy and shows off company favorite Ray Dooley in one his most impressive roles.

The lengthy one-act is a series of seminars with four young, aspiring writers, taught by once-notable novelist Leonard. He had a highly successful early career but ended up as university teacher, magazine correspondent and now private consultant.

The wannabes have each paid $5,000, hoping for some encouragement. Leonard offers little, his caustic commentaries as much about his own failures as those of the students. He devastates Kate with a diatribe about her story, insults Douglas, telling him he’s good but will never be great, and humiliates Martin because he won’t show Leonard his work. Only for sexy Izzy, who’s willing to do anything to get ahead, does he find positive words.

The script’s many witty observations about pretensions and back-stabbings in the literary and publishing worlds are often insider references. Seemingly to compensate, Rebeck includes a lot of sexual material that shifts into sitcom-like situations. The play also takes a good half-hour to move from lightly entertaining banter to a meatier plotline, bringing on several secrets, reversals and re-alignments of sympathies. It ends in a highly satisfying manner, although Rebeck employs some character manipulations to get there.

Director Michael Dove’s experienced hand confidently guides his actors through the script’s pitfalls, the cast’s comic timing and engaging characterizations energizing the piece.

Schuyler Scott Mastain’s Douglas is amusingly affected, desperately trying to be “in”; Allison Altman’s Izzy exudes unbridled calculation; and Carey Cox gives Kate a gratifying transition from vulnerable and naive to independent and sophisticated.

Myles Bullock plays the widest range among the young writers, initially making Martin’s talents seem questionable and his moodiness an outsider’s defense mechanism. But Bullock skillfully reveals Martin’s true nature as he continually locks horns with Leonard.

Ray Dooley brings all his established strengths to Leonard, filling him with icy sarcasm, biting humor and underlying rage. Dooley’s subtle facial expressions and body language speak eloquently, and, when blazing through Leonard’s climactic monologue, confirms his masterful artistry.

Robin Vest’s Upper West Side apartment setting is handsomely minimalist, a surprise last-minute scene change drawing appreciative gasps. Andrew Cissna’s warm lighting cleverly indicates time passing between scenes.

The script has a barrage of profanity, more than necessary to establish the characters and situation, weakening several confrontations where it should have a substantial impact. With that caveat, the production is recommended.

This story was originally published October 19, 2015 at 1:58 PM with the headline "Theater review: PlayMakers stages highly satisfying ‘Seminar’."