In Richard Greenberg's The American Plan, a wealthy survivor of the Holocaust spends summers with her daughter across from a popular lake resort in the Catskills. It's the early '60s. The older woman, Eva Adler (Mercedes Ruehl), exerts a profound influence on daughter Lili (Lily Rabe), so when Lili meets a handsome interloper on their dock, Eva's antennae begin vibrating. The young man, Nick Lockridge (Kieran Campion), claims to be a writer for "Time" magazine, but who can really tell?
Also, Nick is oddly Gentile in territory that is predominantly Jewish. In fact, it's the heart of the Borscht Belt. What's he doing here?
It's clear that Lili, who's quite neurotic as well as susceptible to an attractive stranger, has fallen hard for Nick. Concerned but always in charge, Eva enlists the aid of her maid, Olivia (Brenda Pressley), to attempt to sever the connection between the young couple. (Pressley, young, attractive and sophisticated, seems oddly cast as the African-American maid who's been with the family a long time).
However, the two older women needn't trouble themselves. A second young man, Gil (Austin Lysy), appears on the scene. Although he denies it, he appears to know Nick from the past. And what a past! Eva is able to find out about these personal tidbits and plan her moves accordingly. (Arguably the playwright has made it too easy for Eva to get this damning information, but that's a minor quibble.)
Ten years later, in the Adlers' West Side apartment, the outcome is made clear, if not resolved. At least, not happily.
As is so often the case in New York theater, performances are very strong and make for enthralling viewing. Mercedes Ruehl, a winner of the Tony and of many other theater as well as film awards, delivers a compelling performance, replete with a sturdy German accent.
Lily Rabe, though fairly simple in her portrayal at first, comes through with a couple of well-done, pain-filled emotional scenes. Kieran Campion and Austin Lysy make the most of their scenes together, which adds to the complexity and interest of the situation.
Brenda Pressley, an attractive stage presence, impresses with her second-act scene where she has "put on" some age.
Director David Grindley, who received well-deserved attention and a 2007 Tony for Best Revival for Journey's End, seems a bit lost in production details here. The presentation appears somewhat overwhelmed by the frequently revolving set by Jonathan Fensom, accented by traveling curtains painted to portray the surrounding, very green forest. Less in the way of production elements might have been more.
The American Plan, although maintaining a rather light tone throughout, does offer food for thought: Some people will manipulate, and the vulnerable suffer thereby. Some people may lie, and the lie may damage one for a lifetime. Further, deception and betrayal can be fascinating ploys to observe, particularly in the safe setting of a theatrical presentation.
