For a play that's about the theater, Jonathan Tolins' Secrets of the Trade is surprisingly cinematic in its scope and narrative devices. Tolins' play -- which probably includes some autobiographical elements -- is a coming-of-age story about a theater-loving young adult named Andrew Lipman (Noah Robbins) who matures under the influence of a legendary stage director, Martin Kerner (John Glover). The play checks in with Andrew in mostly two year intervals from the age of sixteen when he first writes Kerner to ten years later. Andrew's initial fawning admiration for Kerner sours into a love-hate relationship as Kerner simultaneously educates and disappoints Andrew over the years.In addition to the fallen-idol trope, Tolins integrates the anguished-parents trope as well. Peter and Joanne Lipman are the supportive parents who yearn for Andrew's admiration even as he comes to value Kerner's approval the most. Mr. Lipman suffers the irony of pushing his son to write to Kerner only to find himself losing to Kerner in the battle for Andrew's affection. The climax of the Lipmans' struggle with their son occurs after he has graduated from college and produces an avant garde autobiographical play that portrays his parents as suburban buffoons who don't understand their son. Mr. and Mrs. Lipman also represent dried up hopes. Peter Lipman had the chance to work with a famous architect and gave it up for his family. Joanne Lipman was a dancer in "her other life," who now only has memories of her performing days. Their performances make us think about our own processes of growing up and severing parental ties.
The New Yorker describes Secrets of the Trade as a comedy, and it does have many funny lines. The cynical assistant, Bradley, is played perfectly by Bill Brochtrup, who offers moments of comic relief as he alludes to Kerner's inner diva. But ultimately, Tolins is trying to illuminate the difficulties of growing up in an uncertain age.
The age here is the Reagan era. We're not so-subtly told that it's Reagan by the crackling radio at the beginning projecting the voice of an NPR announcer who says that Reagan has just won. While the Reagan era is irrelevant for the first half of the play, it takes a more prominent place in the viewer's mind once Tolins explores
The current Primary Stages production of the play at 59e59 Theaters benefits from a cast of seasoned actors. Amy Aquino, a regular on television, plays the aggrieved Jewish mother competing for her son's affection convincingly. She deadpans in the appropriate places and inspires the most sympathy in her snarky moments. Aquino's success isn't surprising since she was in the premier cast in LA's Black Dahlia Theater.
