“Joan Rivers: A work in Progress by a Life in Progress”—the name speaks for itself. Immediately what comes to mind is a frightening face that has clearly gone through too much plastic surgery and a stridently hoarse voice that is apt to lashing out at any point while on the red carpet, or at least that caricature is what this generation has come to understand as Joan Rivers. Nevertheless, in the world premiere production, “A Work in Progress,” now playing at the Geffen, while the audience is entertained by her evident comic persona, they also get a taste of the real Joan Rivers—a surprisingly open and heartfelt human being.

“A Work in Progress” is almost biographical in that the plot weaves in and out of life backstage the glittering red carpet and Rivers stepping out of the action of the play into the spotlight alone to reveal momentary narratives of her 74 years. Like many, I did not know this woman’s extensive resume. Joan Rivers started out performing stand-up before hostile audiences in tawdry nightclubs, and eventually found herself guest host on “The Tonight Show” with Johnny Carson, even receiving an Emmy in her mid-career. Based on her immense experience in the entertainment realm, Joan Rivers has warrant for her motto—“Things always work out for the best.”

Through Rivers’ touching stories, the audience learns to focus less on her frightening façade and the propagated figure the media has made of her, and more on who she really is. Ranging from her experience hearing unanimous laughter in her first theatrical performance to a sold out house, to forming a relationship with her distant daughter after her husband’s unexpected suicide—Rivers even touches on plastic surgery, “Looks are your armor and you’ve got to keep it polished.” Unfortunately, this candid style of story telling comes to startling halts, accompanied by Rivers’ stuttering, every time the shallow plot returns.

The entire play takes place in a decrepit B-rated dressing room 90 minutes before Rivers is scheduled to step out onto the red carpet and ask her patented question, “Who are you wearing?” While the characters of Svetlana, Rivers’ Russian substitute make-up artist and wannabe pop star, and Kenny, the alternate Assistant Producer who likes to play dress-up, are charismatic and devoted to their roles as they assist in getting Rivers ready, the audience easily tires of their redundant actions. The moment the lights dim and these characters freeze in place is when Rivers undeniably shines in her exposed monologues. In my opinion, a one-woman show might have been more effective.

Thank god for dirty jokes. As both co-writer and leading actress of “A Work in Progress,” Joan Rivers shines the moment she opens her mouth to serve biting humor. Rivers warms the audience up with one-liners—referring to herself as “Nana New Face” to her grandson or “Bubby’s got back” in claiming that “black people” love her—and briskly moves into sex jokes. The fact that even the younger audience members did not feel awkward in response to her descriptive Viagra and orgasm tales prove that Joan Rivers has not yet peaked.

Overall, Joan Rivers proves revolutionary in her ability to reveal truths and tell stories without evoking a “pity party” from the crowd. “A Work in Progress” highlights her comic skill and ability to act while simultaneously giving herself a pedicure and putting on fake eyelashes. At 74, there is no denying that Joan Rivers is still having fun.

Danielle Jacoby

Photo Credit: Michael Lamont