Do not think "Fatal Attraction" -- the movie. Do think of a potentially fatal femme fatale, that very special woman that can twist both man and woman to do her will.
Versatile playwright Bernard Slade weaves a tale of intrigue as actress Blair Griffin (Juliet Chelkowski) plays out the script of her life. Griffin is in total control of her destiny as well as the destinies of her former husband, Morgan Richards (Tod Hare); her agent, Maggie Stratten (Michelle DeFrancesco); her nemesis, Paparazzo Tony Lombardi (Randy Coull); and even police lieutenant Gus Braden (Jonathan Sachs). The only one seemingly beyond her power is Detective Doris Aylesworth (Teri Brown).
It would be unfair to reveal the plot. We can reveal the set (designed by director Raylene J. Wall), which is very nicely detailed, complete with an excellent stone fireplace and flagstone floor (scenic artist Rosemary King). The elegant post-and-beam Nantucket beach house is replete with a hot tub under a sliding cover, which is also the landing leading to the second floor.
Lombardi has been hounding Blair for 15 years. Coull gives Tony a coarse, rough New Jersey characterization. He's amusing to watch; we'd enjoy seeing more of him. Tod Hare is the somewhat disgruntled ex. He handles the problems of Morgan Richards well. Teri Brown, in a good Bostonian accent, plays the one voice of reason in the plot - - a detective not to be deceived. Brown often says more about Doris and her relationship with Gus by a look, a glance, or wry smile, than the words in the script provide.
Michelle DeFrancesco, as L.A. talent agent Maggie Stratten, is a pleasure to watch as she slowly reveals the many faces of Maggie. This play, however, is a duel of wits between Blair and Gus. Pitting actor Jonathan Sachs and actress Juliet Chelkowski provides interesting contrasts. Sachs ages well as the 50-something investigating officer. He has good command of the difficult local dialect. The internal battle going on between the detective side of his role and the male-being-entrapped side is also balanced.
Blair is a difficult role, since it is one of deceit from word one to the final speech. Chelkowski is totally convincing as a manipulating bitch who uses her sexuality and charm to get whatever she wants. Chelkowski melts a man's will with a smile and a lifted eyebrow. She shows tension with a movement of her hand, a sharp look. She is totally controlled -- maybe too controlled vocally. Her delivery has a flatness through most of the first act and parts of the second act. Still, Scripps Ranch Theater again provides its audience with a fine production.
