In June 1983, Dr. Sally Ride became the first American woman in space — a moment that shattered the glass ceiling between Earth and the stars and sparked the imagination of young women throughout the United States and beyond. Playwright Liza Birkenmeier sets the lovely and provocative Dr. Ride’s American Beach House on the evening before that auspicious flight on a much less auspicious launching pad, the rooftop deck of an old Victorian house in south St. Louis city. St. Louis Actors’ Studio’s premier, directed with a deft touch and an eye for lingering detail by Annamaria Pileggi, features an impressive cast that embraces the ambiguity and possibility of the story.
Harriet and Matilda are lifelong friends; they work together part time and even studied poetry together in college. Every Friday night, they get together at Harriet’s for their book club, which is less about books and more about friendship. Matilda is married and has a young daughter. Harriet recently returned from visiting her mother in hospice. She’s single and bored with her latest relationship, her job, poetry and questioning every aspect of her life. When Matilda spontaneously invites her new acquaintance Meg to join Harriet and her book club a new dynamic is set in motion.
Lindsay Brill, as Harriet, and Bridgette Bassa, as Matilda, create magnificent chemistry. The air between them bristles with innuendo accentuated by Bassa’s physical embraces. Brill’s Harriet is restrained in nature, a recent sexual experience gives her a touch of confidence and Brill ensures we see her mind constantly spinning and questioning. Bassa’s Matilda is openly affectionate, playful and purposefully sexually obtuse; she’s also seemingly guileless, creating frustration and empathy in the viewer. Anyone who’s had their affection toyed with immediately feels for Harriet, yet Matilda seems so genuinely doe-eyed and frightened by her feelings that it is hard to find her at fault.
RN Healy turns in a knockout performance as the comfortably out Meg, and she quickly reads the room. Though her assumptions cause momentary discomfort, Healy conveys Meg’s intelligence and curiosity at the friendship with a subtle touch. She becomes more observant while still taking her opportunity to nudge Harriet, potentially releasing a truth that’s been fighting to escape. As downstairs neighbor Norma, Lizi Watt gives a gentle interpretation of someone who is simply doing their best to survive life’s challenges and tribulations.
Pileggi guides the performers through the script with a sure hand, ensuring that each revelation, and all the lingering tension and longing, get just the appropriate beat. The play’s resolution is at once uncertain yet delightfully satisfying, even uplifting. Though we can only guess what happens next, the audience clearly feels the early summer winds of change blowing across the rooftop deck. The frank sexual descriptions and heavy innuendo are targeted to more adult audiences comfortable with questions of sexuality and attraction. For those that enjoy an honest, open exploration of sexual themes set in the more conservative 1980s, Dr. Ride’s American Beach House is a bit of romantic poetry that captures a planetary mix of evocative emotions.
Dr. Ride’s American Beach House is written by Liza Birkenmeier and directed by Annamaria Pileggi. It’s presented by St. Louis Actors’ Studio at the Gaslight Theater(358 North Boyle Avenue, stlas.org/play/dr-rides-american-beach-house) through Sunday, October 22. Showtimes vary, and tickets are $35 to $40.
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