The setting is New York City in the early 1900s. The conceit is that we have come to the study of the late Franklin Woolsey, a famous novelist, at the instigation of his widow. We are investigating his secretary Myra Babbage. She claims that, after he died while dictating, she's continued to receive his words. Vivian Woolsey suspects Myra's relationship to her husband and his novels.
Myra tells us of her connection with Franklin beginning with her interview for the job through years of their working together (collaboration?). She thinks their connection did not end, indeed has not ended. Her memories take us to their creative methods, often interactive. They at times seemingly "waited forever" for inspiration. She had to learn not to be or appear nervous.
Franklin, too, adapted, for instance taking Myra's suggestions re punctuation. With her, he returned to turning out more successful books and more easily. He liked introducing her to sugar in tea. They even tried some dance steps.
What tensions arose did not come from methods of writing. Hardly supportive were Vivian's queries and her one-time attempt to become a secretary so as to make Myra obsolete. As for Myra's personal social life, could an interest in fictional characters trump a relationship with a real man?
Does Myra seem a liar or exaggerator? Is she coming up with previously hidden work of Franklin? Is she a mental case? Does Franklin's spirit (love?) continue to collaborate creatively with her? Has she actually been creating all or the bulk of the novels?
What tasty food for thought! How delicious to be fed such elegant prose! No vicious vocabulary here. What sexual energy, literally under wraps! How well director Kate Alexander catches and holds close the complexity of Michael Hollinger's drama plus mystery.
Never faltering in monologues or mood, Amy Tribbey is a luminescent Myra. Colin Lane's sophisticated Franklin truly seems to be of the period, while Hollis McCarthy as Vivian well represents an anytime jealous, suspicious woman.
Fitting the characters and time, Sara J. Hinkley's costumes help bring the outside world into Rob Eastman-Mullins' appropriately detailed but not cluttered interior. Sound comes from the author's requirement that phone, gramophone, and especially typewriter be used, as if to a musical score. Richard T Chamblin III illuminates place and proceedings smoothly.
Hollinger's Ghost-Writer at FST may well haunt our memories.
