By Bart Greenberg***Here’s what it takes to create a superior solo show: a) an interesting story; b) a well-told story; c) a terrific performer. The Giggling Granny, by Marsha Lee Sheiness, running at the Theater for the New City hit a hat 
trick, exceeding all expectations in all three categories—especially in the bravura performance by veteran actress Marilyn Chris as the real life Nannie Doss (1905-1965), the most unlikely of serial killers. Doss was responsible for murdering 11 people between 1927 and 1954. Among several media-born nicknames she was referred to as the Giggling Granny.
Sitting in jail, Doss tells her history to Life magazine; the idea that she will share pages with Cary Grant and Clark Gable thrills her far more than the worry of her sentence of life in prison with no chance for parole. And considering that arsenic poisoning is her modus operandi, her desire to work in the institution’s kitchen rather than the laundry is unlikely.
Sheiness drew on the true story to create a fascinating and complex character. She found a surprising amount of honest humor in this tale of murder, sexual and child abuse, alcoholism, arson and those other little joys in life, creating an impressive 
balance between laughter and horror. But this tale is not just all surface; there is a deeply troubled and challenged woman on stage whose grasp on reality is tenuous at best and who may also be suffering from epilepsy. Doss’ dependence on romance magazines and novels is evidence of her twisted view on marriage, and her continuous and reckless search for some hyper-fantasy of love drove her to horrific acts—even more than those recounted in the play.
Director Jim Semmelman has paced this 90-minute show beautifully, with shifting moods and the occasional pertinent sound effect that accents the action of the story. At no time did the production lag; the audience was not heard to be shifting in their seats, no coughing, no checking of watches or phones. The stage picture was kept highly simple: just a chair, a table, a few props and some shifting lights (designed by David Abb). The better to concentrate on the story and the performance.
And what a perf
ormance it is! Chris has been an actor in a decades-long career that ranged from experimental theater to a long tenure on daytime TV’s “One Life to Live.” But this has to be a career highlight. She creates a complex character who exists on several plains, as we perceive both how others see her but how she sees herself: the cold blooded killer vs. the romantic dreamer. Within the first few minutes, she has seduced the audience with her mix of childish charm and very calculated manipulation: singing snatches of popular songs, giggling at her own teasing, blithely detailing her crimes, and relishing in them; everyone so often she allows the mask to drop and we see the troubled, unhappy woman underneath. Such a multi-layered portrayal is one to be treasured. Hopefully, the show will extend beyond it’s short engagement so that more audiences can experience this performance.
The Giggling Granny run through January 26, 2025 at Theater for the New City, 155 First Avenue, NYC. Tickets can be purchased via the website at theaterforthenewcity.org or at the box office.
Photos by Jonathan Slaff
