Among Friends
The crux of Thatcher’s drama–about three middle-aged friends whose relationships are severely tested by jealousy and betrayal–lies in one particularly fine scene at the beginning of the second act, as the simmering tension between the men reaches a full boil. Will, a high-minded if somewhat self-righteous schoolteacher, accuses Dan, a decorated Vietnam vet and real estate tycoon, of betraying and using him and Matt, an unlucky schlub who works as a salesman at Sears. Will’s angry accusations, Dan’s attempts to defend himself, and Matt’s efforts to keep the peace all have the aroma of truth, and the characters’ complex interactions play out like a six-handed tennis match or a cutthroat game of pool. The trouble is the anemic first act that gets us to this point and what follows.
Best of Chicago voting is live now. Vote for your favorites »
So when the second act opens, it’s something of a surprise to see how well this confrontation works. Everything that had been hinted at –Dan’s duplicity, Will’s turmoil over whether or not to rat on his friend, Matt’s pathetic desperation–fully emerges in this taut scene. It’s almost as if Thatcher had been coasting through the first act, since here she delivers so well, living up to the reputation she’s won with her highly acclaimed Emma’s Child and Niedecker.
