Hold on to Me Darling

By: Darryl Reilly

Adam Driver’s charisma and fierce guitar smashing only goes so far in redeeming playwright Kenneth Lonergan’s maddening, Hold on to Me Darling; it is a wan and overextended character study of a successful country singer and movie star. It was originally presented by the Atlantic Theater Company in 2016. At that time, the bumpy lives of Nashville-type performers had been explored in movies such as Honeysuckle Rose (1980), Tender Mercies (1983), Songwriter (1984), and of course Robert Altman’s Nashville (1975). Mr. Lonergan offers nothing at all new on the subject, it’s just the usual satirical skewering of show business laced with contrived thoughtfulness. By the end of enduring its three hours, “That’s it?” is likely to be one’s response.

How do they grab a hold of a man who isn’t there?

Superstar Strings (Clarence) McCrane has abruptly left the set of the action film he’s filming to attend the rural Tennessee funeral of his 67-year-old divorced mother who has unexpectedly died. Celebrity has taken its toll on the good-natured Strings, he is isolated and tended to by his hyper personal assistant, Jimmy. Strings becomes infatuated with the vivacious hotel masseuse Nancy. Later, he becomes infatuated with his down to earth distant cousin Essie, who was close to his mother. Who will Strings settle down with? His disaffection with his lavish lifestyle causes him to quit the movie he is starring in and cancel his upcoming concert tour to return to a simple existence. He buys the town’s feed store and runs it with his older brother amidst industry lawsuits for his actions. Lonergan spins out these trite events with lackluster results. When it seems that the play has reached its romantic conclusion, Lonergan trots out a feeble surprise resolution. SPOILER BELOW

SPOILER: In the last 15 minutes, Jimmy announces the previously unmentioned fact that private detectives have been scouring the nation for Strings’ father who he hasn’t seen since he was eight, Dad has been located and is now outside the door! So, we get an awkward and emotional father and son rushed reunion finale. Like the rest of the play, its just another unconvincing rote plot device. Still, the venerable Frank Wood makes the most of this paternal cameo in his customary riveting histrionic fashion. END OF SPOLIER

NON-SPOILERS:

Swaggering about in Western wear and a cowboy hat, speaking in a pleasing twang, while saying “darling” numerous times, singing and playing guitar, stripping down to black boxer briefs for a massage which reveals his chiseled physique, Adam Driver is soulfully authentic throughout. He delivers a galvanizing star performance to thrill his admirers as well as casual theatergoers, and justifying reviving Hold on to Me Darling. The animated Keith Nobbs is a delightful whirlwind as Jimmy. Heather Burns as Nancy, and Adelaide Clemens as Essie, each bring magnetism and their distinctive talent to their cliché roles. Beaming CJ Wilson conveys good ole boy charm in his part of the older brother.

Through focus and crisp pacing, director Neil Pepe’s physical staging makes for a watchable presentation. Walt Spangler’s exemplary scenic design cleverly employs a turntable to swiftly transport the action from a hotel room, a funeral parlor, living rooms and the feed store. Lighting designer Tyler Micoleau and sound designer David Van Tiegham’s contributions are high caliber. Suttirat Larlarb and Lizzie Donelan’s down home costume design is pleasingly appropriate.

Though dramatically negligible, Hold on to Me Darling succeeds as theatrical vehicle for Adam Driver.

Hold on to Me Darling (through December 22, 2024)
Lucille Lortel Theatre, 121 Christopher Street, in Manhattan
For tickets, visit www.holdontomedarling.com
Running time: three hours including one intermission