McCarter Theater Center presents Christopher Durang’s ‘Turning Off the Morning News’ (second review)

The broad satire by the acclaimed author of Vanya and Sonia and Masha and Spike, which, like Turning Off, premiered at the McCarter Theatre, fusses listlessly.

A handful of Durang’s typically absurd and acerbic lines land like random darts hitting a large board from close range. Example: wife Polly (Kristine Nielsen) tells suicidal husband Jimmy (John Pankow) that he’s probably “beyond St. John’s wort.”

This scattershot approach is buoyed by director Emily Mann’s colorful, cast-for-Broadway production. But Turning Off the Morning News mainly serves to turn on memories of better Durang plays.

Picture perfect — 40 years ago

Beowulf Boritt’s suburban nightmare — cartoonish houses cluttered on too-perfect lawns — is framed by the curves of an old-fashioned TV screen. It’s all brightly lit by Jeff Croiter and accompanied by Mark Bennett’s bubbly theme music, an ideal backdrop for a satire about suburban sprawl produced in the 1970s.

Polly blames her chattiness on God and loses track of a big potted plant she sets at her feet; apparently, that’s supposed to be funny. The accomplished actress’s constant twitchy movements and wide-eyed mugging make a desperate plea for laughs; opening night’s fawning audience obliged. Pankow’s Jimmy smirks while announcing plans to shoot people at the mall, a threat that had more bite back when malls mattered.

Durang’s trademark direct address pokes fun at theater conventions — “We didn’t want to cast a real 13-year-old,” Polly winks while introducing son Timmy (Nicholas Podany). But she natters on endlessly, as does neighbor Rosalind (Jenn Harris), another babbler, who wears a pillowcase over her head to block the sun.

The play feels like Durang had a thematic checklist: Unfulfilled housewife, check. Bullied teen, check. Climate change, check.

More relatable are Salena (Rachel Nicks) and Clifford (Robert Sella), who live next door “because we had similar misfortunes.” Clifford can’t take the morning news, preferring to escape into “music from back when people believed in God.” (Media, check.) Selena’s husband left after reconnecting with his high-school sweetheart online. (Social media, check.)

Comedy’s strain

Familiar Durang concerns (religion, family dysfunction) and modern themes (racism, mass shootings) are referenced superficially. “Why did you marry a black woman?” Jimmy asks Clifford in front of everyone.

We laugh at his ignorant brashness, Polly scolds him, the subject evaporates. But does that cope with today’s racial relations? Saying “Fuck Facebook” scores a hearty snort but it’s hardly incisive social satire.

Durang’s script lurches and strains to manufacture funny. When Clifford gives his phone number to police, it’s “000-000-0001.” When they ask why, he says, “Life is strange.” When Rosalind feels nervous, she asks to dance and then writhes in a silly fashion. Jimmy says his book might win a “Pulitzer surprise,” a forced malapropism with no meaning behind it. Much of Turning Off the Morning News consists of such desperate silliness.

Maybe one of Durang’s brilliant early one-acts lurks within this tedious 90-minute exercise, which might have been considered timely if produced decades ago and driven by some genuine passion or point. Perhaps the playwright turned off the morning news a long time ago, resulting in this more irrelevant than irreverent Turning Off the Morning News.

To read Cameron Kelsall's review, click here.