
I found the script to be the weakest element, really. Plot-wise, it's complicated: a Hollywood screenwriter—Kathleen Turner—who is also an overbearing mother, follows her son—Jonathan Walker—who is a former screenwriter, to Omaha, where he has fled to escape her and the film industry. She desperately needs to cajole him into collaborating with her on a script for reasons that change throughout the play. Whenever she attempts to brainstorm ideas with him, those ideas come to life in the performances of Charles Busch (in drag, as one would expect), Jennifer Van Dyck, Sarah Rafferty and Scott Parkinson; they all play a variety of characters in three stories (the third story, we are told, is always the best one) and all in different film genres: gangster, fairy tale, and science-fiction. There are some good ideas throughout the piece and several very funny moments but they don't ever gel into anything coherent. Because Turner's character keeps switching back and forth between the three story ideas, I saw no evidence that the third one was any better or worse than the other two; it certainly wasn't clear to me what point Busch was trying to make with any of them.
On the positive side, the acting is uniformly good and incredibly hammy—which is entirely appropriate in this sort of production; it's well-paced and supports Busch's style of humor—traditional set ups and punchlines, for the most part, with lots of opportunities for mugging—nicely; and all of the design elements—sets, lights and costumes—are effective. If the script had even been on par with the rest of the show, The Third Story might have been a pleasant diversion. Instead, it was just one story too long... or maybe two...
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