MYTH OF THE OSTRICH at Upstream Theater Review

(l-r) Wendy Renee Greenwood as Holly, Jenelle Gilreath Owens as Pam,and Pamela Reckamp as Cheryl,, in Upstream Theater's "Myth of the Ostrich." Photo credit: Patrick Huber. Courtesy of Upstream Theater

– By Cate Marquis –

Upstream Theater’s “Myth of the Ostrich” is a laugh-out-loud comedy, a smart, fast-paced bit of mayhem with three women, where secrets, differing opinions and culture clash come together to make comedy. If you are ready for a break to just laugh, this is your ticket for that.

This is the U.S.. premier of Toronto-based playwright Matt Murray’s comedy, which debuted in 2014 at the Toronto Fringe Festival. Upstream’s Artistic Director, Philp Boehm, caught it at a sold-out performance in Poland. Jane Paradise directs this very funny play, which is enhanced with some creative lighting effects by Denisse Chavez and a wonderfully cluttered set and scenic design by Patrick Huber.

Set in present-day Boston, Wendy Renee Greenwood plays Holly, a Bostonian native and writer who we meet as she is colorfully chewing out her publisher on the phone when the play opens. Storming around her messy apartment dressed in well-worn sweats, Holly struggles to get something down on paper with her latest writing project, before slumping over her laptop and starting again. When there is a knock at the door, and thinking it is a delivery she is expecting, she yells that the door is open and to come right in.

And someone does, but not a delivery person. The person who comes in is Pam (Jenelle Gilreath Owens), the mother of one of Holly’s son’s classmates at school, and someone Holly has never met. The new arrival is dressed primly in a pink Chanel-style skirt suit, clutching her purse, and with a heavy Wisconsin accent that reveals she’s not from Boston. Pam introduces herself, tells Holly she wants to get to know the mother of her son’s new friend, and to talk about the relationship between the two teenagers.

Given how snarly Holly was a few minutes ago, and how clearly unprepared for visitors she and her apartment are, we are a bit surprised that Holly almost immediately offers Pam some chamomile tea and clears off a laundry-strewn chair for her to sit down. They chat and Holly soon realizes how very different they are. Pam and her family have recently relocated to Boston for her husband’s job, and Midwesterner is clearly a fish-out-of-water, something she feels keenly. Pam’s demeanor is formal but friendly and well-meaning if naive and maybe a bit odd. Their conversation is interrupted by a couple phone calls from her too-needy husband, but the chat reveals to Holly that Pam is buttoned-down, traditional, and a regular church-goer, little of which describes Holly.

And certainly not Holly’s Southie friend Cheryl (an excellent Pamela Reckamp), who shows up just as Holly is gently sending her unexpected visitor on her way. Holly is eager to get Pam on her way, after discovering Pam has a false belief that Holly would rather not correct, to avoid triggering drama, at least avoid it in her apartment.

Holly thinks she’s deftly skirted this emotional “bomb” as she’s walking Pam to the door, but then in comes Cheryl. Loud, talkative, raunchy Cheryl who has a side business in drugs. Quickly, something happens that abruptly changes Holly’s plans from politely “get Pam out the door” to desperately “don’t let her leave.” Chaos and laughter are about to ensue.

Secrets, false belief, and truth, both mothers’ protectiveness and one mother’s wish to skirt potential conflict instead of going for confrontation – they all hilariously combine in “Myth Of The Ostrich.” Yes, there are some heads in the sand, but there is also a surprising degree of human kindness despite differences, something that seems too rare right now.

But it is really this wonderful trio of performers who make this show so funny and such a treat, a firecracker of a good time. Greenwood, Reckamp, and Owens are all marvelous and side-splittingly funny, making the very most of every comic element that the playwright provided. The accents themselves are part of the humor, with classic Boston, and even more pronounced Southie accents running up against a strong Wisconsin one, thanks to dialect coach Lauren Roth. They are all excellent, but Owens’ let-loose, expressive Pam might be the funniest, especially in a physical comedy bit with an uncooperative raincoat. Sure, much of it is classic farce, but it is farce done right – very right.

There is plenty of laughs and crazy, even silliness, which is a delight but there is an underlying note of sweetness too. When so many plays focus on a pivotal showdown or calling someone out, it is refreshing to see this one take another tack, to focus on avoiding conflict and hurt (or at least drama in her living room), and especially when it is done with such comedic flare.

Do yourself a favor, and go see this guffaw-inducing treat, “Myth of the Ostrich,”which is a sure cure for the wintertime blues. Upstream Theater’s production of “Myth of the Ostrich” is on stage at the Marcelle Theater, 3310 Samuel Shepard Dr., through Feb. 8, 2026.

© Cate Marquis