Sarah Jessica Parker and Matthew Broderick sparkle in “Plaza Suite” on Broadway, writes TimTeeman
The three women in the three plays are not Carrie Bradshaw, even if they share some of her disappointments, impatience, betrayal and disillusion with the heterosexual male of the species.
Here too, the Plaza’s suite 719 proves to be all her characters’ bête noire. Alongside Parker and Broderick are Cesar J. Rosado , Molly Ranson, and Danny Bolero, playing what could be a smattering of thankless walk-on roles, but who fill these characters out with deftly played individual notes, given that both time and words on the page are against them.
We see how a marriage in general neglect can fast deteriorate to the raw husk it has really been, though hidden, for a while—with the added detonation of adultery. It’s so beautifully written and performed that you long to know for the rest of the evening what happened next to them both.becomes a more broadly comic proposition; the second play is, right down to Broderick’s loud plaid trousers and Parker’s Pucci-ish minidress , very much a swinging 60s’ set-up.
The third play is the silliest of them all. It is pure farce, with a very delayed, slightly dreary payoff, with Mimsey hiding behind a bathroom door as parents Norma and Roy try to chivvy her out, and keep their private business well away from the wedding Mimsey should be participating in, as the bride, downstairs.
Parker, Broderick and their three briefly-seen fellow actors excel, crisply and correctly judging repartee, tempo, pace, and tone. Parker is adept at handling hilarity—hobbling around, as Karen, on one shoe—and then, moments later, utterly piercing as she realizes the devastation of her marriage. The champagne may have long gone flat, but she stays fizzing.
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