The plot of Managing Maxine was supposedly suggested by a local couple's romance.
As he did with last year's Murderers by Asolo Rep and highlighting its Sarasota seniors and scene, Mark Rucker directs this piece with comic elan. Audiences, especially those of a certain age, seem fulsome in their appreciation of the love affair between Maxine, a novelist of 70 and widow of four years, and Arthur (distinguished Granville Van Dusen), a retired federal judge widowed but three months. Maybe Maxine wins the crowd by continually telling, outside the action, of her fears and why she does what she does. But it never becomes a collaboration.
Maybe because Sharon Spelman, a Rep favorite who's returned to Asolo after several years, is so vital as Maxine that she gets away with frequent use of the s and f words. Even though she's been the aggressor in the relationship, desiring a perfect mate (judge and Jewish!), she does engender some pity if Arthur is seen as having led her on. After all, he very explicitly proposed sexual encounters just shortly after he accepted her invitation to dinner.
Each of the two is involved in a daughter's marital situation. Arthur's, Ivy (sensitively played by Bethany Weise), is going through a painful divorce and still grieving for her mother. Wouldn't a remarriage for her father now be too dangerously precipitous?
Maxine constantly nags her daughter Emme (likeable Mackenzie Kyle) about her marriage. It may not be reaching the heights of romance, but there's little evidence that nice-guy husband Larry (humorously confused about what to do for his wife but willing to accommodate her) merits Maxine's disdain.
Both elders have best friends to listen to their problems. Geraldine Librandi is winning as Maxine's well-adjusted confidante Joanne. Arthur's is golfing pal Louis, always anxious for details of his neighbor's sexual exploits. Howard Elfin tries to make him nice when Louis takes back cracks about his own wife. By then, the damage is done, though; Louis is no better than a jerk.
In speaking to some teen journalists who attended the production through Asolo's Access to the Arts program, I learned their impression that the play is "full of cliches"; Maxine, "rather self-centered"; the production, concentrated on gimmicks. The last probably referred to production elements that predominate.
Filmed fireworks on the wall outside the bedroom of the principals' first sexual encounter have to be projected over bookcases. Room walls awkwardly swing apart to make room for a golf cart. A bedroom door opens to a car brought onstage. Huge signs designate the inset local scenes Hob Nob Drive-In, Whole Foods Market, an all-purpose palm treed area. Big audience pleasers? Little doubt.
Will the gimmicks overshadow the questionable aspects of hero and heroine? If Maxine initiated contact with Arthur by feeling he'd be a perfect partner, why is she so flustered at his sexual proposal? Why does she stir up marital problems for her daughter and what does she have against her son-in-law? Why does she keep telling the audience what she shouldn't say or do...and then go ahead with them? What do her oft-mentioned, seemingly silly novels have to do with her real life?
If Arthur feels his wife's death is too recent for him to be dating seriously, why has he begun "doing suppers" with women even prior to that first with Maxine? Why is he so sexually aggressive before his daughter finds out and what is his trouble about telling her, though he's gone into detail with friend Louis? Does he really think his and Maxine's political differences will be unimportant? In Florida?
I must iterate Managing Maxine seems obviously a big hit with Asolo audiences of a certain age. As for me, I have to go with those acute students.
