Susan Granger’s review of “Rasheeda Speaking” (The New Group at Pershing Square Signature Center)
Set in a doctor’s office in Chicago, this edgy comedic drama revolves around rival receptionists.
It opens with Ileen Van Meter (Dianne Wiest) having a morning chat with Dr. David Williams (Darren Goldstein) concerning the return of Jaclyn Spaulding (Tonya Pinkins) after a five-day sick caused by amorphous complaints about “toxins” in the air.
Dr. Williams tells Ileen to “keep her eye” on Jaclyn, noting in a log any observations of unusual or suspicious activity. He’d obviously like to fire Jaclyn for her “poor attitude” but he needs something of substance to satisfy Human Resources.
Jaclyn appears to be a stunning, if overbearing African-American who lurks in the hallway for the big hand to reach 12 before she clocks into the workplace and is furious because she finds her plants wilting when they weren’t watered during her absence.
Perceiving Ileen’s promotion to “office manager” as a personal insult, Jaclyn rudely vents her anger on Rose Saunders (Patricia Conolly), a frail, elderly patient who appears in the office without first checking in downstairs. And Ileen is no match for her manipulative vindictiveness.
As delineated by Chicago playwright Joel Drake Johnson, the theme is office politics and underlying racism. It marks the directing debut of actress Cynthia Nixon (“Sex and the City,” “Law & Order”), who slyly handles the four-person ensemble adroitly.
Appearing at first as modestly mild and meek, Oscar-winner Dianne Wiest (“Hannah and her Sisters,” “Bullets Over Broadway”) gradually reveals neurotic Ileen’s subconscious passive-aggressive tendencies, while Tonya Pinkins (Tony-winner for “Jelly’s Last Jam”) leavens Jaclyn’s nasty hostility with humor.
Allen Moyer’s utilitarian set defines each secretary’s space, while Jennifer Tipton’s lighting design captures the familiarly functional workplace glare.
Although it’s filled with memorable moments as, obviously, the “toxins” are both symbolic and literal, the 90-minute play lacks the necessary subtlety and cohesiveness to propel it further.