The Tale of the Allergist’s Wife

Reviewed by Holly Bartges

She’s done everything for everyone but herself, and now she is dramatically, boringly depressed in her upscale Manhattan apartment. Everyone around patronizes poor Marjorie Taub, deliciously portrayed by Ashley Crockett. Her husband, Ira (Mark David Nelson) retired allergist occupies himself with computer research, chat lines and teaches at a university. He pities her, scratches her between the ears and pats her on the head while he plays at his expertise. He’s bored too, without the drama. The doorman Mohammed, skillfully played by Michael Skillern, bends to her whims fixing her gaudy chandelier because she doesn’t trust the available handyman.

Ashley Crockett as Marjorie Taub, Mark David Nelson as Ira Taub, and Susan d’Autremont as Lee Gree in Theatre Group’s production of The Tale of the Allergist’s Wife.

Not quite everyone patronizes Marjorie. Her outspoken stereotypical Jewish mother speaks her mind from the depth of her bowels, literally. A favorite Denver actor, Sue Leiser has turned the stereotypical Jewish mother demeanor into a polished art form.

As a thought provoking aside, a tantalizing benefit could be produced with Leiser performing a snippet of all the roles she has played as a Jewish mother. Demanding on her, but incredibly entertaining.

Frieda’s one-line barbs from her bowed mouth zing straight as an arrow into Marjorie’s psyche. Who else but a Leiser coiffed Frieda would be tolerated with “unending” jokes on suppositories of why they work and don’t work. The zingers come to be anticipated not only by Marjorie and Ira, especially when they begin to eat. It becomes a mind game of anticipated laughter for the audience. With extraordinary comedic timing, Leiser does not disappoint.

Honest comedy resides at the heart of The Tale of the Allergist’s Wife directed by Nicholas Sugar whose footprints can be detected throughout the course of events on Theatre On Broadway stage.

Into this mass hysteria bursts Susan d’Autremont as Lee Green whose scatter-brained run away enthusiasm has her knocking on the wrong door. Through prattled conversation Lee and Marjorie discover they were once childhood friends. Marjorie can now wave bye-bye to her doomed depression. Nothing can remain the same for Marjorie and Ira. The chaotic calamity doesn’t change Frieda. It only fuels her already barbed wire conduct, twisting the barbs even tighter. D’Autremont sustains a skilled off the wall level of energy for an amazing performance. Lee’s diarrhea of the mouth allows Frieda to work even harder at her arrow sliced zingers.

Lee’s mysterious cutting-edge observations and outside the box motivations becomes a hysterical antidote for Marjorie and Ira’s existence. Would that everyone could have a Lee bounce into his or her life. Well, maybe not everyone.

Tina Anderson produced a colorful tantalizing set that speaks of wealth and smells of boredom.

Sugar’s indoctrinated humor provides serendipitous moments between the many scene changes. One in particular is downright brilliant inspiration.

Tightly written by Charles Busch, there is no question this is a difficult play to perform with its machine gun delivery and Jewish terminology. It’s comedy at its best, as well as being downright funny.

Placed in Manhattan, my only question is where did Nelson devise his accent? Of course, anything can happen in Manhattan, but it seems he’s trying a mite too hard to perfect the unknown.

At a time when much passes off as comedy not knowing how to spell it much less pronounce it, The Tale of the Allergist’s Wife knows humor, knows laughter, and knows funny.