A Conversation With Playwright Gregg Ostrin, “The Spy Who Went Into Rehab”, The Pacific Resident Theatre, by James Scarborough

Gregg Ostrin’s “The Spy Who Went Into Rehab” is a subversive comic exploration of toxic masculinity through the lens of a James Bond-like character. The play blends humor and social commentary. Set in a rehab center, the story follows a spy who embodies the outdated machismo of the 1960s as he confronts his addiction and behavioral issues. This setting becomes a crucible for transformation. Here, the protagonist must engage with a diverse group of self-aware, recovering addicts.

Ostrin’s story critiques the archetypal male hero without losing its comic essence. Though derailed by his archenemy, the spy’s journey towards enlightenment underscores the difficulty of personal change. The show’s humor arises from the character’s resistance to change and the absurdity of his situation. All this makes us reflect on broader implications of gender norms and personal growth.

Directed by Cyndy Fujikawa, the production benefits from a strong ensemble cast. Fujikawa’s direction ensures that the comedy never overshadows the play’s key message. She balances the protagonist’s transformation and the individuality of the supporting characters.

“The Spy Who Went Into Rehab” uses comedy to address serious issues. Ostrin’s script and Fujikawa’s direction challenges us to reconsider the nature of heroism and the possibility of change.

JS: What inspired you to create a character reminiscent of James Bond and place him in a rehab setting? How did this idea evolve into “The Spy Who Went Into Rehab”?

GO: I was a huge James Bond fan from the time I was a kid. I was born in 1960, so Bond was a part of my life from the beginning (along with The Beatles). Also, I am sober for 37 years. The inspiration came one day when I was thinking about Bond in the context of today’s attitudes towards alcohol and sex and I realized that James Bond is an alcoholic, a sex addict, a nicotine addict, a gambling addict and he has major anger issues. It began with a simple sketch: What would James Bond be like at a rehab intake and it sort of evolved from there into a play.

JS: Your protagonist embodies many traits associated with toxic masculinity. What challenges did you face in writing a character that is both a critique and a comedy?

GO: The biggest challenge was creating a character who is an archetype and very much in his own world, who has these outrageous attitudes about things, but still has to be relatable and ultimately, sympathetic.  The fact is, there are still so many men like this in the culture, who have some arrested development around self-awareness, but who are still charming enough to be forgiven.

JS: The play addresses themes of addiction and personal transformation. How do you balance these serious themes with the story’s comic elements?

GO: The way you balance it is by not shying away from the comedy or the drama.  The play never becomes Days of Wine and Roses, but the main character does experience some real struggle with not being able to indulge his addictions. At the same time, there is something funny about watching someone with a huge ego getting humbled. The fact is, we are an addictive culture and so we can all relate to depriving ourselves in order to lose weight, or get healthy, and how crazy it can make us.

JS: How does the character’s journey in rehab reflect broader societal shifts in the perception of masculinity and addiction? 

GO: The initial inspiration of the play was to examine addiction and how it can become our identity. Then I realized there was an even bigger issue here; that of the role models in popular culture that shaped my generation’s concept of what it means to be a man, has become known as “toxic masculinity.”  Once upon a time James Bond was the epitome of cool, now his persona has had to be reshaped for a more evolved audience.  Simon Cross, my spy, goes through an arc where he is at first in denial that he has a problem, then acceptance, then learns a balance between being masculine, without being macho.  The place he comes to is, “I can be strong, powerful and a leader and still admit I can’t always be and do those things and that’s okay.” He also learns to respect women in a way that James Bond, even in his most recent iteration, has yet to.

JS: Discuss your collaboration with Cyndy Fujikawa. In terms of balancing humor and critical commentary, how did her direction influence the final production?

GO: Cyndy and I have known each other since high school. I was a year ahead of her and we were both drama geeks (we still are). We had never worked together and she will tell you that I kept bugging her about directing this play and I know it was the LAST thing she wanted to do, mainly because the subject and world wasn’t anything she had a relationship to. But I think when she saw at the core it was the story of a man learning to be a better person at the hands of four very strong women and one vulnerable gay man, it intrigued her. I like to say that every idea Cyndy pitched I vetoed and that every one of those ideas became the most popular and memorable things in the play.  She has a lot of experience working with and as an actor and a great visual sense for the theater. She always made the actors aware of the emotional stakes of the play, not just the more facile comedic elements. And she is BRILLIANT as Z, the Judi Dench-inspired boss.

JS: The play features a diverse group of woke recovering addicts. How did you approach writing these characters to ensure they were both humorous and respectful representations? 

GO: I like to think of myself as somewhat evolved. Through years of 12 step programs, therapy, raising kids and basically falling on my face over and over in personal relationships, I feel like I know myself fairly well, well enough to laugh at myself. Stella is like a lot of women I know in recovery who work as counselors and coaches. Pixie, the non-binary character, is based on my daughter Emma, who isn’t non-binary, but who is very connected to the LGBTQ community and also is one of the toughest and strongest people I know. Yvonne is like a lot of people I know who are sober, who have come from rough backgrounds. They’re brutally honest and don’t care what you think of them.  Finally, Gary is that part of me that loves being in 12 step meetings, wants to be a badass, but is just too self-conscious to go for it. Lazarus Rex, the villain is just every Bond villain rolled into one.

JS: What reactions have you observed from audiences regarding the play’s treatment of toxic masculinity and addiction? Have there been any surprising responses? 

GO: Only that people who are not in any recovery totally connect and relate. The fact is, the Bond movies are part of our culture. Everyone knows the references, whether they are fans or only have a passing awareness and let’s face it, EVERYONE knows someone who is misogynistic and overtly macho.  The good news is, they laugh when they’re supposed to.

JS: Are there any literary or cinematic influences that informed your writing of “The Spy Who Went Into Rehab”? How did these influences shape your approach to the play? 

GO: Every spy movie and TV show ever made! The opening exchange, where you think Simon is being interrogated by some shadowy enemy is taken from the opening of my favorite spy series, “The Prisoner.” I took all the different tropes from the Bond movies; the exotic names, gadgets, habits, attitudes and overly-expository dialogue that can be twisted comedically. I stuck primarily to the Connery Bond films because they were the first, the best and basically all subsequent movies just imitated them. Some of the more slapstick elements are inspired by James Coburn’s Derek Flint movies and shows like “The Man from U.N.C.L.E.”

JS: Given the success and unique premise of this play, are there any future projects you’re working on that continue to explore similar themes or styles?

GO: I would love to write a sequel that continues this character’s journey through the current culture, but we’ll see what happens with this one. I wrote a play called “The Beverly Hills Hotel Peace Talks,” based on a real-life political incident between Israel and Egypt in reaction to Barbra Streisand and Omar Sharif doing Funny Girl, that will be premiering next summer at the Coachella Valley Rep in Palm Springs. That play explores my relationship to Judaism and Israel, which is an entirely different aspect of my life experience.

JS: How does “The Spy Who Went Into Rehab” compare to your previous works in terms of thematic exploration and creative satisfaction?

GO: The last original play I wrote, “Kowalski”, was based on the night Marlon Brando auditioned for “A Streetcar Named Desire” at Tennessee Williams’ house in Provincetown. That play explored the themes of celebrity, creativity and artistic discipline, all of which fascinate me. Plus, it’s a true story and Brando is my favorite actor. I actually think “Spy” is the most autobiographical thing I’ve written, because it deals with recovery, substance abuse and what it means to be a man in the world today, all of which are journeys I have taken and continue to take.

The play opens at 8pm on Friday, June 7, 2024. Performances are 8pm Fridays and Saturdays and 3pm Sundays. The play runs until Sunday, July 7, 2024. Tickets are $35. 55+ Discount $25. Student Discount $12. The Pacific Resident Theatre is located at 703 Venice Boulevard, Venice 90291. (Street parking or a small free lot in back.) For more information, click here.