David Auburn just lets them talk, and something great happens.
Summer, 1976.comes from listening to Laura Linney and Jessica Hecht talk. The two of them — how haven’t they worked alongside each other before? — have distinct instruments and know how to deploy them so well. Linney’s got an assertive alto, while Hecht’s timbre is reedier and more winding, a viola and oboe.
The scale of this production is kept purposefully small, a painting in miniature: Auburn introduces us to Diana and Alice as they trade monologues, both looking back from around 2003 or so on a summer in Columbus, Ohio, where they became friends as young mothers. Diana is wealthier and more uptight, a single-mother art professor with a studio she refuses to let the kids play in, while Alice is a “sleepy-eyed little hippie” and a bit of a stoner who’s married to a young economist at Ohio State.
Those scenes between Alice and her husband also let Hecht and Linney ping-pong off each other, which they don’t get to do enough while monologuing separately. Daniel Sullivan, directing, situates them on either side of a table as they trade speeches, which early on lulls you into a rhythm that’s a bit too predictable.
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