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An advice columnist who defines herself as a Jewish Joan of Arc, a woman with chutzpah and "one hell of a Rolodex" and a person courageous enough to explain Linda Lovelace's oral sex techniques on TV is certain to supply entertaining theater material. The world premiere portrait of Ann Landers by David Rambo (a staff writer for "CSI"), "The Lady With All the Answers" utilizes high spots of Landers' life and career to create an enjoyable and enlightening experience that finds trouble only in its melancholic last scene.
Randy Graff, Tony winner for Broadway's "City of Angels," starts off by reading a few mildly kinky letters from devoted fans -- episodes involving a woman who likes to do housework in the nude, and a man who greets guests in a Tarzan outfit and makes chimpanzee noises swinging from a tree.
Next, Graff converses amiably with spectators, asks questions ("how many of you were virgins until marriage?") and makes the theater feel like a gathering in Ann's living room. Surrounded by Ralph Funicello's circular set, edged in decoupaged newspaper columns and fleshed out with antique furniture and a crystal chandelier, Graff avoids exaggeration and director Tom Moore Tom Moore subtly shapes her into a believable heroine bent on helping others.
Show Biography - Lady With All The Answers
The playwright carefully edges into the material, starting with a bit of entertaining silly stuff. But even as some in the audience may be beginning to wonder if an entire two-act play can be composed of such bagatelles, the subject matter shades into the more serious. We glimpse Eppie's progressive spirit, her championing of liberal causes, her sexual tolerance despite conventional views typical of her generation: She wrote sympathetically about homosexuality when it was generally considered a mental aberration; calmly explained the clinical aspects of Deep Throat as part of a TV panel; and visited Vietnam--she was an opponent of the war--conversed with soldiers, and contacted their families.
Gradually we gain a rounded portrait of the woman, one fully and warmly engaged with the human race. The sad heart of the play, toward which the author subtly steers, is that the column Eppie is struggling to write deals with the breakup of her 36-year marriage. Graff makes the transition from Eppie's cheerful, flippant persona to her concealed pain and regret with tremendous delicacy, and the emotional impact is profound.
This marital conflict -- which falls into the valiant-great-lady-mode -- is also the element that marches the show toward a misconceived ending, bringing the lights down on a soap operasoap opera victim. Landers is an inspiring and attractive figure in Robert Blackman's hot pink pantsuit, and one can't help thinking that the "lady with all the answers" would advise Rambo to jettison his last scene and remove an obstacle that might prevent his show from becoming the touring and Off Broadway success it deserves to be. Costume designer Robert Blackman has clothed her in shades of pink; Paul Peterson's sound design plays LPs she loved; and Ralph Funicello's scenic design, lighted by Chris Rynne, is adorned with owl tchotchkes--perhaps a reference to Minerva, goddess of wisdom.
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The playwright carefully edges into the material, starting with a bit of entertaining silly stuff. But even as some in the audience may be beginning to wonder if an entire two-act play can be composed of such bagatelles, the subject matter shades into the more serious. We glimpse Eppie's progressive spirit, her championing of liberal causes, her sexual tolerance despite conventional views typical of her generation: She wrote sympathetically about homosexuality when it was generally considered a mental aberration; calmly explained the clinical aspects of Deep Throat as part of a TV panel; and visited Vietnam--she was an opponent of the war--conversed with soldiers, and contacted their families. 
