Life 101

Theory of the Dream follows the life of young Lee Wilcox, resourcefully played by attractive young actress Greta Gerwig, who’s on this critic’s short list of up-and-coming local talent. In Wilcox, D’Juan has come up with an interesting and quite believable character who’s navigating a difficult course through her 20s. She’s emerging from a stop/start romance with a boyfriend who had too many problems, then she bumps into an old high-school wannabe-flame (played by Matt Moore)—but he’s got problems, too. She holds down a job (while friends are dealing drugs), goes to clubs, does the couch potato thing with TV, attends lectures, even reads a book (imagine!).

The script references topics D’Juan has hit on in the past, including the destructiveness of drugs and alcohol to relationships. D’Juan also works in a loopy interlude on the dance floor, a change of pace he’s used before. But this time he follows up the dancing with a fast-paced exchange of observations between two young, single women—a scene that ripples with ribald wit. Several other scenes are equally strong.

D’Juan seems to have absorbed the comic techniques that are administered, successfully, on a regular basis at the B Street Theatre. This show includes a café scene, a romantic breakup, several outtakes from TV talk shows, cell phone snafus, drunk scenes and a bit of pop celebrity worship—all of which are ingredients in the B Street recipe for romantic comedy.

But D’Juan also goes four-wheeling—with mixed results—in less-familiar terrain. His female characters get pregnant, have abortions and deal with abusive boyfriends—topics typically taboo.

But it’s still a very interesting little show. Director Martin Lain makes intelligent use of sparse resources, young Gerwig glows in the leading role, and D’Juan continues to improve and grow as a playwright.