Play examines the gender gap
THEATRE REVIEW
BY NANCY _STETSON Florida Weekly Correspondent

Watching Stage 88's production of "The Vast Difference" reminded me of a cartoon I once saw. The first panel, labeled "Female Sexuality," showed an incredibly complex network of interconnecting wires. The second panel, captioned "Male Sexuality," consisted of one simple switch labeled "off" and "on."

That's not necessarily saying that men are simple.

But as Stage 88's current show demonstrates, for all our similarities, vast differences still exist between the sexes.

The show, which runs at the Bonita Springs Community Hall through Oct. 13, revolves around George Noonan's dilemma. After fathering five kids, George (Steve Cassese) is supposed to get a vasectomy. But he's skittish about it. His squeamishness only grows when he discovers that the urologist who'll perform the procedure is a woman (Beth Yazvac).

Haven't men progressed beyond this yet?

The play, written by actor/playwright Jeff Daniels, examines men's struggles with masculinity, perceived stereotypes, changing sex roles, and father issues.

Sometimes he hits the nail right on the head: George declares at one point, "There's no such thing as equal rights. Women won't be satisfied with 50-50 when they feel the power that comes with 51%."

But some lines ring false. Though it got some laughs, I doubt any woman would say: "I do everything in this marriage. Every time I wear a dress, I feel like I'm crossdressing."

The first line, yeah. The second, no way. A woman might say, "Pitch in" or "Grow up!" Or (pick one): "I am not your maid" or "I am not your mother."

Daniels's play purports to look at the vast difference between the genders, and the title is a play on vas deferens, the tubes that get cut in a vasectomy.

But sometimes his script resorts to stereotypes, and I found myself confused by what he was trying to say. Is the men's group he pokes fun at just metrosexuals, or is he trying to say that men who try to get in touch with their feelings are effeminate?

And Joey Yazvac's portrayal of a nurse at the urologist's office --all swishing and lisping, too over-the-top like Milton Berl in a dress-- bordered on the offensive (though the audience found it amusing.) Is Daniels saying that only gay men become nurses? Or that only a gay man would want to work in a urologist's office? George's role as a flight attendant breaks stereotypes, but then the nurse just reinforces them.

The strongest scenes occur with George's father, Earl (Mark McClellan). Though dead, he appears to George throughout the play, talking to him. (Unfortunately, death has not made him any wiser; he's still unable to say "I love you" to his son.) He also appears in flashbacks, revealing pivotal moments in George's life. At the end, he's responsible for some Field of Dreams-esque heartstring-tugging, in one of the show's most tender moments.

McClellan is perfect as the loud, opinionated, browbeating father, and his strength anchors the play. I only wish the other actors were as strong.

Cassese puts in an understated performance as George, and shines as a younger version of himself.

Gennifer Taylor plays George's wife, but there's no chemistry, no connection between them. I didn't believe they were married.

But a trio of actors in minor roles, playing it just for laughs, threaten to run away with the show. Len Becker, Frank Coverini and Bob Hill portray over a dozen different characters, from customers at Earl's barbershop to salesmen on a plane. Becker is funny and lovable as Chico, a man who keeps going for his vasectomy but chickening out. (Fourteen times.) Coverini is perfect as a salesman with a bad toupee complaining loudly on a plane about how he can never find any action in Cleveland. And Hill, a superb character actor with a rubber Popeye face, stole every scene he was in.

The play, written in 1993, seems dated at points. "Oh wow," it seems to be saying. "Woman doctor! A male flight attendant! Men who want to get in touch with their feelings. What's this world coming to?!"

It's best when dealing with George's relationship with his dad, a dynamic that seems universal and timeless.

It's not entirely clear what Daniels is trying to say about the Grand Canyon divide between the sexes. It's as if he tried to tackle too much with one single play.

But he has penned some funny lines, including a number of Midwestern jokes that appealed to the relocated Midwesterners in the audience. (My favorites: "No one wants to see the Midwest. That's why they invented non-stops." And George, complaining about an upcoming flight: "I can't go to Cleveland. People don't go to Cleveland. People leave Cleveland.")

The set design, by Jerry Seiff, is so minimal, it borders on Zen. But he makes great use of multi-sided panels which turn to create a black or yellow background, or a blue-sky-white-puffy-cloud background. Slides of various scenes (barber's shop, doctor's office, bedroom) are projected on the panels to help set the locale.

"The Vast Difference" has more of a let's-put-on-a-show feel to it than previous Stage 88 shows. It may not solve the war between the sexes, but provides a decent amount of laughs.

If you go

>>What: "The Vast Difference"
>>When: 8 p.m. Oct. 4-6 and 11-13
>>Where: Bonita Springs Community Hall,
27381 Old US 41, Bonita Springs
>>Cost: $20
>>Info: Call (239) 513-8600 or go to
www.Stage88.com