By James V. Ruocco
"Dear Sugar, We still don't know who the fuck are you and seriously, who the fuck do you think you are?"
"Dear Sugar, Are you even qualified for this gig?"
"Dear Sugar, Your advice is all over the place?"
"Tiny Beautiful Things: Advice on Love and Life from Dear Sugar" was written by Cheryl Strayed in 2012. A collection of real-life stories and essays, it drew its inspiration from her popular advice column "Dear Sugar," an intimate patchwork of conversations and memoirs that provided straightforward, satisfying, optimistic comfort.
The stage version, simply titled "Tiny Beautiful Things," follows a similar plight. Adapted for the stage by Nia Vardalos ("My Big Fat Greek Wedding"), with the able assist of Marshall Heyman and Thomas Kail, it too finds comfort in Strayed's clever, passionate advice column and her willingness to help others while interjecting her voice and her point of view into the proceedings without any form of condescension.
The big question: Does a tale of self help warrant a stage version that gives voice to Strayed's wisdom, depth and commanding presence?
Yes, no, kind of and maybe.
"Dear Sugar, I am a 35-year-old woman who has lost her job and is entering into a relationship with a married man."
"Dear Sugar, when is it the right time to say I love you?"
"Dear Sugar, I get really seasick and I have a boat trip coming up with my boss who doesn't really like me?"
During the 80 or 85 minutes allotted for "Tiny Beautiful Things" to take shape, the play delves hard into Strayed's "Dear Sugar" column, its letters, its writers, its conversationalists, its long responses, its quirks, its popularity, its truths, its insight, its perversions, its controversies and its oddities.
It fascinates.
It stings.
It surprises.
It entertains.
It provokes.
It bores.
It leaves you on the outside looking in.
It is flat.
It is repetitious.
It also alerts you to the world outside Long Wharf Theatre which includes the sounds of trains signaling their arrival at the nearby Union Station.
Then, surprisingly after about 20 minutes of ups, downs and in-betweens, "Tiny Beautiful Things" picks up momentum, stands proud and tall and gets you very involved, using apt diversity and theatricality to pique interest and stop you from looking at your watch, thinking about your next workday or that special cup of java being offered at Blue State Coffee, the Greek Olive or Starbucks.
At Long Wharf, "Tiny Beautiful Things" is being directed by Ken Rus Schmoll whose credits include "The Invisible Hand," "Aphrodisiac," "A Map of Virtue," "Proserpina," "Gone Missing" and "The Grown Up." Staging the play, Schmoll strives hard to elicit concentration as the characters wander about and seek answers to their personal and collective problems, hoping for the very best advice from Strayed, who, through most of the play, doesn't reveal her true identity.
Give the limitations of the script - advice columnist sharing her experiences through e-mailed letters - there's not much for Schmoll to do, directorially except direct traffic, so to speak. Since most of the action is restricted to the confines of Strayed's comfy backyard (handsomely designed by Kimie Nishikawa), interaction is very limited and confined. Mostly, the actors simply face front when it comes time for them to recite their "Dear Sugar" questions promptly, studiously and in character. When they finish, Schmoll simply moves them downstage right, downstage left, upstage right or upstage left to either observe, listen, stand still or strike a pose, their backs to the audience waiting for the next cue to move, speak and perform.
It's an abstract creative process that Schmoll utilizes and controls to the best of his advantage, never once interrupting the pending action, conversations, seriousness or humor of the piece with unnecessary movement. Here, what matters most are the words, their effect, their resolution and how they reach out and touch the audience. Then, it's time for Schmoll to play traffic cop again and move everyone round and round until the play builds to is its amicable, well-awaited conclusion.
The production stars Cindy Cheung as Cheryl Strayed, a.k.a., Sugar, Brian Sgambati as Letter Writer # 1, Elizabeth Ramos as Letter Writer # 2 and Paul Pontrelli as Letter Writer #3. The very versatile and charismatic Cheung brings sustainable warmth, empathy, snap and pulse to the Strayed character who has become a 21st century social media star to the people who adore and write to her. We see that Strayed is an involved, dedicated writer and storyteller with a purpose. That said, despite the play's shortcomings, Cheung's work is sharp, clear, personable and always affecting.
The other cast members, played respectively by Sgambati, Ramos and Pontrelli, assume and play many different characters throughout "Tiny Beautiful Things," all of which they do so effortlessly. As actors, they are real, they are focused, they are trusting and they are completely in sync with the nature of the piece and their ever-changing roles in the production.
In conclusion, "Tiny Beautiful Things" is an emotional, achy and legitimate entertainment. It is also flawed, quirky and one-note. Those expecting a riveting piece of theater will be largely disappointed. Like Cheryl Strayed's advice column, there are moments that glimmer, shine and catch you completely off guard. There are also moments that are comforting, heartfelt, brave and humorous.
But as a play "Tiny Beautiful Things" is riddled with drawbacks. Its letter/monologue conceit has its range of truths and emotions. But, something is missing. And the advice being given only fleetingly catches fire, despite the valiant efforts of all involved. Union Station, anyone?
"Tiny Beautiful Things" is being staged at Long Wharf Theatre (222 Sargent Drive, New Haven, CT), now through March 10.
For tickets or more information, call (203) 787-4282.
website:longwharf.org/
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