Theater Review (NYC): ‘Hold On to Me Darling’ with Adam Driver

Hold On to Me Darling

With incredible ensemble work and well-paced, acute direction by Neil Pepe, Hold On to Me Darling showcases the dynamics of a superb theatrical production. Written with perspicacity, riotous dialogue and profound themes of currency, Kenneth Lonergan’s two-act play shines in this limited-engagement revival at the Lucille Lortel Theatre.

Death the leveler comes for kings, dictators, celebrities and nobodies. When it strikes close to those privileged with global fame, fortune and power, its icy fingers claw their heart and stir their fears. This is especially so if the prominent individual still retains a modicum of humanity, like the noble but erratic, globally renowned country music singer of Lonergan’s play, Strings McCrane (Adam Driver). Thankfully, Strings, a celebrity unlike others of his obnoxious, privileged, entertainer ilk, sees fault in himself. Principally, he rues not measuring up to his mother’s expectations. When she chides him to settle down and find a nice girl, he makes excuses, relying on tomorrow to change.

Death’s Impact Moves Throughout Hold On to Me Darling

When the star, currently working on a space movie in Kansas City, hears of his mother’s death in hometown Tennessee, he falls apart. Subsequently, recriminations plague his soul to the point of crisis. Watching this happen to someone like Driver’s beautifully hacked-out, remorseful hottie, who has everything at his fingertips, pops like a karmic joke. The envy of most and the fantasy of adoring female fans, when he’s slammed in the face by reality it’s tragicomedy.

Reviving Lonergan’s work after COVID-19 killed millions, the play’s reflections on life, death and second chances resonate. Lonergan reinforces throughout the play the human need to race to distractions and escape “memento mori,” as Strings does.

In Hold On to Me Darling, we meet Strings in a flurry of emotion

Initially, we meet Strings in a flurry of emotion. Haranguing his sycophantic assistant Jimmy (Keith Nobbs) for trying to distract him with porn, Strings farcically asks what his mama would think. Driver’s tone and pacing, perfectly pitched to drawling Southern sincerity, evokes laughter.

What, him worry? Unless she sees him from beyond the grave, his mother won’t know about his porn watching. And when he states with frustration that he doesn’t want a drink, he wants his mama, Driver pitches the comment with desperation, so it is humorous. Routines that Strings once engaged in can’t ameliorate this irrevocable loss. Now, nothing cheers him. Internalizing his mother’s criticism, Strings beats himself up emotionally, but to no avail. In fact the self-torment makes him more miserable. At some point to gain peace, he must confront her loss as it relates to him personally.

Strings vows to change his behavior and career for his dead mother

In an attempt to shake off his gloom, Strings vows he’ll change his life for her, give up his career and all the lousy artificiality that goes with it. Though his mother is not around to appreciate his change of behavior from wild and impulsive to settled, he intends to make an effort. As comedic as his plan is, Strings believes he can create this new chapter of his life for his dead mother, giving her what she wished.

With humor, grace and sensitivity Driver embraces Strings’ confluence of emotions: humiliation, guilt, grief, loneliness, isolation and abandonment. Because Driver makes Strings’ reality his own, we identify with the character’s struggle, while finding it teetering on the edge of hilarious farce. In a world turned upside down with her death, Strings tries to reevaluate his identity. In the past he acted upon forces and achieved success. Now he’s lost, and forces and people act upon him.

Susceptible to Nancy’s manipulations

To encourage Strings to decompress, the loyal Jimmy orders up a hotel masseuse. As luck would have it, Nancy (a wily, oily turn by Heather Burns), a huge fan of Strings, flatters her way into his vulnerable heart. She massages his ego and liquefies his will. Nancy follows him to his mother’s funeral in Tennessee and worms her way into his life, even overthrowing another love interest Strings humorously takes advantage of, cousin Essie (Adelaide Clemens). Driver’s scenes with Burns and Clemens are filled with comedy, thanks to the dialogue, the actors’ spot-on, organic portrayals, and Pepe’s pacing. As he negotiates the two women, he also sets things right with his brother Duke (CJ Wilson), and they forgive each other’s past offenses.

Evolving Toward Goodness?

Trying to avoid pitfalls and behave like the good son his mother wanted, Strings humorously careens between Nancy and Essie when he moves back to his hometown. Burns’ and Clemens’ scenes together ring with humor and authenticity. Nancy, the mercenary, uses sugary duplicity to get rid of her rival, the sweet Essie. On the other hand, we respect Clemens’ Essie. With irony and power Essie holds her own and spins a final comment that flies over Nancy’s one-track mind.

After Strings dumps his career, marries Nancy and goes in with his brother to open a feed store, the problems explode. From lawsuits to paparazzi, Strings still can’t find the peace he’s looking for as his fame turns around to choke him. Only the surprise that happens in the last scene helps him understand soul redemption and forgiveness.

Driver Creates a Playing Field for the Other Actors

Adam Driver mesmerizes with his comfort and ease onstage, oozing humility and charm. Disarmingly, he elicits our empathy and delights us with his naïveté, sexual forwardness and Tennessee drawl. Driver’s talents, embracing fully the quixotic, dismissively abrupt, quirky Strings, creates the ideal playing field for the other actors.

Lonergan takes the time to create a character arc for each of the complex individuals who want something from Strings or try to help him. With Mitch (Frank Wood in a bravura performance), Strings establishes a bond of warmth and concern. Along with Wilson’s and Wood’s strong performances, those from Burns and Clemens establish the baseline for the play’s comedic elements. Finally, Nobbs is nuanced as Jimmy, Strings’ confidante, who serves with every ounce of his being. Humorous and scary, Nobbs not only conveys the dangerous obsessiveness of celebrity worship, he shows how those hired as special assistants to the famous sometimes are counted upon to be loyal to the death. In the hands of a less deft actor, Jimmy’s seriousness wouldn’t be funny. Driver and Nobbs play off each other beautifully.

Walt Spangler’s scenic design on a turntable platform, which shadows Strings from hotel room to funeral parlor to hotel lobby to feed store, is rich in detail. Kudos to the rest of the creatives: Suttirat Larlarb and Lizzie Donelan (costume design), Tyler Micoleau (lighting design), David Van Tieghem (sound design and original music). They make Pepe’s vision for Strings cohere thrillingly.

This production should not be missed, principally for its performances, Pepe’s direction, and Lonergan’s rich, complex themes. It will surely be up for Drama Desks and other Off Broadway awards.

Hold On to Me Darling is at the Lucille Lortel Theatre, 121 Christopher Street until December 22. It zips by in three hours with one intermission because of the humor and well-paced rhythms, like a country song. You’ll split your sides with laughter. Adam Driver is just great. https://holdontomedarling.com