Adapted and Performed by Anne Stockton

Directed by Austin Pendleton

Based on the novel by Stewart O’Nan

Jewel Box Theater

312 West 36th Street

 

Review by Rachel Royan

 

Sex, drugs, fast cars and fast food set the scene for Anne Stockton’s solo show The Speed Queen, which follows death row inmate Marjorie Standiford as she spends her last hours recounting the violent events that led to her sentence. In her sparse Oklahoma City cell, Marjorie reveals her side of the story into a tape recorder courtesy of the writer (presumably Stephen King) who has purchased the rights to her gory account. “Stephen” has provided her with a stack of questions he would like her to answer, and Marjorie slowly makes her way though them, giggling as she reminisces about how she met Lamont, her husband and partner-in-crime. Their hedonistic natures propel them into a rapid and heavy relationship of drugs, sex and car shows, which just as quickly, turns into a pregnancy and marriage.

 

Strung Up: Michael Laurence and David Beach get caught up in the backstage drama of a classical music quartet in Michael Hollinger’s magnificent new show, Opus.

 

Arrested for possession, Marjorie spends some time in prison where she meets Natalie, who becomes the third partner in this crime spree. Speaking smugly of their sexual encounters, Marjorie’s voice nonetheless holds real affection for Natalie, adding a creepily incestuous tone to their relationship. The situation becomes further complicated when Natalie moves in with Marjorie and Lamont and begins helping Lamont with his drug dealing business. The theft of borrowed money for a drug deal leads to Lamont’s toe being butchered off, an act that leads the trio (and their son Gainey in the backseat) to Route 66 looking for money. According to Marjorie, it was this simple need for cash that precipitated the ensuing mass murders, including the torching of an elderly couple, the massacre of employees in a fast food joint and the shooting of a cop. The murder spree ends in Lamont’s death.

 

Based on Stewart O’Nan’s 1997 novel of the same name, Stockton’s adaptation paints a vivid picture of violence, self-indulgence and stupidity. Stockton’s anti-hero is both compelling and engaging; Marjorie is adamant that she was simply the getaway girl, but her nonchalant remarks offer chilling insight into her lack of remorse. Director Austin Pendleton uses the space to full advantage and, along with Stockton’s performance, creates a solid portrayal of a desensitized society and wasted youth.