Theater Review: ‘Rx’

Elizabeth Rich in “Rx,” directed by Ethan McSweeny. (James Leynse)

NEW YORK—Playwright Kate Fodor’s “Rx” might be viewed as just another boy-meets-girl, boy-loses-girl offering. Except that this play is set in such a modern—or should I say, moderne—milieu that it kind of defies the category. Also, some serious issues lie under the surface.

A prestigious pharma (pharmaceutical) company, Schmidt, is testing a new drug, one designed to do away with workplace depression. So young editor Meena (Marin Hinkle) is interested.

When Meena is interviewed by the attractive young doctor and researcher Phil Gray (Stephen Kunken), she gives off contradictory vibes. She’s not all that depressed but does admit to weeping on the job, at least once daily. She basically likes her job—that of managing editor for a magazine that specializes in pigs and cattle—but she wants more out of life. (Who wouldn’t?)

She also admits she writes prose poetry and has even had a book published.

The vivid Allison (Elizabeth Rich), Phil’s high-powered boss, exudes enthusiasm for the company and the product, SP 925. In fact, she brims over with ideas, hoping to tie in singer Dolly Parton’s famous “9 to 5” song with a PR launch by Schmidt.

Stephen Kunken and Marin Hinkle in Primary Stages’ world premiere of “Rx” by Kate Fodor, directed by Ethan McSweeny. (James Leynse)

Meanwhile, Meena can’t help but have a depressive attack now and again. To quiet herself, she visits a particular area of a nearby department store. Here are displayed floor-to-ceiling racks of women’s oversized panties. There, one day, she meets Frances (Marylouise Burke), a widow in need of new underwear.

The two women hit it off, and Frances finally succumbs to the temptation of purchasing some new panties, even though they’re expensive.

Back at Dr. Phil’s lab, he and Meena are getting to know each other better. Phil admits that his dream is to go to Africa with an organization that sends doctors abroad to help people in developing countries. Meena, admitting that her book of poetry got a bad review, offers to accompany Phil.

However, tensions develop. Meena unexpectedly dallies with her boss, Simon (Michael Bakkensen). Furthermore, although Meena is feeling better, she learns that Phil may have been giving her a placebo and she is furious. Adding to the stress, when Allison finds out that Meena and Phil have been having a relationship, she pulls the plug on everyone’s dreams.

Along the way, it comes out that Phil had initially wanted to become an emergency room doctor but realized that he had a poor bedside manner. Furthermore, how could ER work enable him to repay about $300,000 in student loans? Allison remarks that the company has had to hire four people to merely read and interpret the FDA’s complex rules.

So the truth is out. “Rx” is a satire regarding various medical practices and the workplace. Meena expresses that it’s not right for people to be penned up (like pigs?) in little cubicles their whole lives and be tortured.

It’s not surprising to learn that Kate Fodor, prior to becoming a playwright, had a career as a journalist covering health care and the pharmaceutical industry.

Director Ethan McSweeny keeps the performance moving along effectively and swiftly. Marin Hinkle displays just the right mix of “having it together” and being alternately distraught, while her vis-à-vis Stephen Kunken is both properly professional and later romantic.

Elizabeth Rich shows that mix of tough attractiveness sometimes found in female executives. Marylouise Burke expresses a flair for being both silly and poignant. Michael Bakkensen is an attractive and somewhat pompous boss, as is required. Paul Niebanck does nice work doubling as both a marketing executive and researcher for the pharma company.

Kudos to set designer Lee Savage, who cleverly created a pull-out exam table and bed coming literally out of the walls. Andrea Lauer’s costumes are fine, especially the several very attractive business outfits for Elizabeth Rich.

“Rx” offers an enjoyable prescription combining fun and thought.

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: www.diabarth@juno.com