As the festive season dawns, a yearning for connection and shared experiences draws us towards loved ones. In times of societal shifts, the warmth of companionship and narratives of hope become even more vital. This sentiment of intimacy and revelation resonates deeply with the upcoming theatrical event featuring East End luminaries, Mercedes Ruehl and Harris Yulin. These longtime friends are set to grace the stage at LTV Studios in Wainscott for a unique performance delving into the multifaceted dynamics of marriage, promising an evening where emotional “nakedness” and comedic brilliance intertwine.
“Scenes of Mirth & Marriage: A Theatrical Evening,” scheduled for Saturday, November 30, at 7 p.m., offers a staged reading of carefully selected excerpts from plays that present a diverse spectrum of perspectives on marital relationships. This production, a brainchild of Playwrights’ Theatre of East Hampton, is brought to life by LTV’s creative director Josh Gladstone and directed by James Larocca, the former mayor of Sag Harbor, whose theatrical background as a playwright and director adds depth to the project.
The Playwrights’ Theatre of East Hampton, originally founded by Mitzi and Perry Pazer, experienced a vibrant period in the early 2000s under Gladstone’s direction at The John Drew Theater at Guild Hall. Larocca, a key figure during that era, directed numerous readings and performances and was a founding member of the Naked Stage, a theater collaborative at the John Drew. His extensive experience culminated in directing Guild Hall’s 75th-anniversary show in 2006, which featured East End’s celebrated performers, including Harris Yulin and his wife, actress Kristen Lowman, who forged a close friendship with Larocca.
“Harris and I have an easy friendship,” Larocca remarked, highlighting the collaborative spirit underpinning this theatrical reunion.
Gladstone’s revival of the Playwrights’ Theatre of East Hampton at LTV Studios has fostered a series of engaging productions, with “Mirth & Marriage” being the latest. For Yulin and Ruehl, this performance aligns with their history of captivating audiences with staged readings, including A.R. Gurney’s “Love Letters.”
“Mercedes and I have done a bunch of these shows and readings,” Yulin stated, underscoring the comfortable rapport they share on stage. “So with this one, Josh Gladstone wanted to do it, Mercedes wanted to do it and then I came along and said I would do it too.”
Ruehl echoes this sentiment of ease and familiarity in her collaboration with Yulin.
“Harris and I have known each other for a while,” Ruehl explained, reminiscing about their three-decade-long friendship that began on the East End. She describes their bond as a profound and genuine connection, a rare and cherished friendship between a man and a woman.
“We are friends who have, in some ways, filled out each other’s lives, so we have now what was called in the 12th century, fin’amor — courtly love,” she elaborated. “It’s a long, deep and loving relationship. It’s especially nice to have a friendship with a man because it’s usually unachievable. But this has been a true friendship.” This “naked” honesty and emotional exposure in their friendship likely translates into their on-stage chemistry, adding depth to their performance.
In these uncertain times, the role of art becomes increasingly crucial. Ruehl emphasizes art’s ability to offer perspective and solace.
“We would go crazy at this point without art,” Ruehl asserted. “Art thrives on the truth and it dies in falsehood.” She draws a parallel to the resilience of underground theater in the Soviet Union, highlighting art’s power to sustain morale and offer truthful reflections of human experience.
“Great playwrights sustain morale,” she added, emphasizing the importance of artistic voices in navigating societal complexities.
The evening at LTV will showcase the works of acclaimed playwrights Edward Albee, Nöel Coward, and Harold Pinter, featuring scenes from “Who’s Afraid of Virginia Woolf” (1962), “Private Lives” (1930), and “Night” (1969). These plays, while distinct in style and era, share a common thread: an exploration of marriage’s intricate facets and the evolving dynamics within spousal relationships. Each scene promises to peel back layers, revealing the “naked” truths of human connection and conflict within marriage.
“I like the contrast in relationships,” Ruehl explained, detailing the selection of plays. “In the first scene, we have a very testy, dangerous scene with Martha and George. Then comes Nöel Coward and ‘Private Lives,’ and it’s also testy and dangerous, but in an elegant 1930s everything-will-wind-up-OK kind of way. In the Pinter play, you get a sort of wise acceptance on the part of both the man and the woman. There’s an affection that turns through all the doubt and misremembering — a deep-seated, unbreakable connection, so it’s a little bit of a progression.”
Yulin recounts the genesis of their on-stage partnership: “I knew Mercedes casually for quite a while when I asked her to take part in a reading I was doing, which she did. Then we did another and another, and we then developed a comfort level.” This comfort and mutual trust are palpable, enhancing their performances and allowing for a deeper exploration of the characters they portray.
“She was someone who I had been working with and absolutely trusted to come up with the goods,” he added, highlighting Ruehl’s professionalism and talent. “Then we became very good friends.”
“We hope it will be a joy. We want to do anything we can for Josh and it’s a fun night out with friends,” he concluded, expressing enthusiasm for the upcoming LTV show. “We always like to do as much as we can.”
Ruehl, reflecting on the current political climate, considers whether recent events have reshaped the message of “Mirth & Marriage.”
“In all three plays we’re looking at — by Albee, Coward and Pinter — the strength of the woman is irrefutable and the strength of the woman is core to all three pieces,” she observed. This focus on female strength resonates powerfully in contemporary discussions about gender equality and societal roles. The “naked” vulnerability and power of the female characters in these plays will undoubtedly be highlighted in their performance.
“People say the family is the basic unit of society, but before that is this agreement between a man and a woman. That’s what this performance is about,” Ruehl concludes, emphasizing the fundamental human connection at the heart of “Scenes of Mirth & Marriage.”
“Scenes of Mirth & Marriage: A Theatrical Evening” will be presented at LTV Studios on Saturday, November 30, at 7 p.m. Sound is by David M. Brandenburg and lighting is by Hudson Woelk. Tickets $30 (VIP café seating $65) at ltveh.org. Admission at the door is $35. LTV Studios is at 75 Industrial Road in Wainscott.
