We're in this bar in Bayonne, New Jersey. That's across the river from Brooklyn and south of Manhattan. It's a dive called Oliver's. These two broads come in. One is named Debby and the other Beth. I don't think they've ever been out of Jersey. Being a Californian, it took me quite awhile to interpret their accent. They were dressed like, well, I don't want too be uncomplimentary, sorta flashy, ya might say. . . weird, really weird those two.
Fortunately I was sitting in the Cygnet Theater watching the opening of Backyard Productions' Hysterical Blindness. It seems Debby (Jessica John) had just had that psychological problem. She and Beth (Amanda Sitton) are checking out the dudes at Oliver's, keeping Bobby (Jonathan Sachs) the bartender busy replenishing their drinks.
In the meantime, Debby's mom, waitress Virginia (Jill Drexler), does snare a nice, plain sort named Nick (Dale Morris). Drexler and Morris are a convincing couple, falling in love and enjoying the company of each other. Sadly Debbie doesn't understand the positive nature of her mother's relationship.
Debby's man-frustration creates tensions at home. She treats her mother poorly and isn't even too nice to her best friend, Beth. These are all signs of her desperation, her need to be loved, and her inability to understand her needs rationally.
She snares cocky Rick (Dylan Seaton). Hey, he feels, a one-night stand is just great. She, however, is seeing wedding bells and doesn't understand his indifference. Debby is devastated, but now, finally, starting on a path to maturity...I think.
Hysterical Blindness is an actress' dream. Jessica John lives Debby on stage. Through an authentic accent, we see her frustration. We end up feeling her pain and rejoice, somewhat, in her semi-growing up. As her sidekick, Amanda Sitton is a perfect foil, two lonely women in the quest for a permanent man. Beth did have a man once. Now she has a young daughter.
Director Gercke has taken full advantage of his excellent cast, bringing believability to the production. He also takes advantage of Cygnet's wide stage, creating several locations as well as using the rotating stage for two perspectives of Oliver's.
Eric Lotze's lighting design isolates the playing areas well. M. Scott Grabau's sound design sets the late '80s feel and often adds a coda to some of the scenes.
While a bit talky, we are offered a slice of life of these people of Bayonne, New Jersey. Hysterical Blindness is also a reflection of playwright Laura Cahill's past. While Debby and Beth may not act like adults, the themes are, and the performances are worth the price of admission. Just don't let Debby or Beth flirt with you.
