Cardinal

C

Greg Pierce’s (Slowgirl, Kid Victory) new work, commissioned by Second Stage Theater, could have used a few more workshops before it reached the stage of their Terry Kiser Theater. What begins as a look at what happens when a moribund upstate New York town decides literally to paint the town red to attract tourist dollars soon loses it way in a forest of subplots that jostle each other without coming together in any satisfying way. Leading the push for the paint job is prodigal daughter Lydia Lensky (Anna Chlumsky; You Can’t Take It With You, “Veep”), who has returned to her home town after an unsuccessful career as a band manager in Brooklyn. The young mayor Jeff Torm (Adam Pally; “Happy Endings”) just happens to be the jilted ex-boyfriend of her sister. The owner of the failing local bakery Nancy Prenchel (the aptly named Becky Ann Baker; Good People, Barbecue) and her developmentally challenged son Nat (Alex Hurt; Love, Love, Love, Placebo) are opposed to the proposal. Down in Manhattan’s Chinatown, entrepreneur Li-Wei Chen (Stephen Park; Aubergine) sees The Red City as an investment opportunity. His son Jason (Eugene Young; “Veep”) shows more interest in Lydia than in the family business. The focus shifts back and forth from Lydia and Jeff’s bumpy affair to the tragic impact of change on Nancy and Nat to the battle of wits between Lydia and Li-Wei to the unlikely alliance between Lydia and Jason. Is it a rom-com? Is it a serious look at urban displacement? Is it a commentary on racial stereotyping? It appears that the playwright could not decide and he eventually paints himself into a corner. I found the central character of Lydia annoying and her motivations unclear. Chlumsky and Pally apparently have a big fan base from their television work and were greeted enthusiastically when they first appeared. Baker and Hurt are both strong. Derek McLane’s (The Parisian Woman) simple set features gray brick walls with arched windows and doorways. Jennifer Moeller’s (Aubergine) costumes are apt. Kate Whoriskey (Sweat) is a fine director, but she can’t supply coherence where none exists. Despite its faults, the play has many entertaining moments and it held my interest throughout. I wish it had been given more time to find its way before getting a New York premiere. Running time: 95 minutes, no intermission.

Fire and Air

D

It is sad to think that this amorphous mess came from the pen of four-time Tony winner Terrence McNally. How the mighty have fallen! If there was any point to this Cliff Notes version of the career of ballet impresario Sergei Diaghilev, I failed to grasp it. If you arrive knowing the reasons for his importance to the arts of the early 20th century, you will disappointed by the needy man-child portrayed here (by the miscast Douglas Hodge; La Cage aux Folles). If you don’t know his importance beforehand, you will wonder why you should waste two hours with this unpleasant man. At least his entourage includes some interesting characters played by topnotch actors — his cousin and long-ago lover Dmitry Filosofov (John Glover; Love! Valour! Compassion!), his longtime friend and patron Misia Sert (Marin Mazzie; Bullets Over Broadway, Carrie) and his nurse since childhood Dunya (Marsha Mason; The Goodbye Girl). We also meet his great love, the dancer Vaslav Nijinsky (James Cusati-Moyer; Six Degrees of Separation), whose career he obsessively molded, and who broke his heart. Finally, we are introduced to his next protege Leonide Massine (Jay Armstrong Johnson; On the Town). To hold the interest of at least part of the audience, Cusati-Moyer and Johnson remove their shirts as often as possible. Periodically Diaghilev spouts something pretentious when he is not kvetching about his boils or his fear of water. At intermission, I could not imagine that it could get worse, but I was wrong. The second act is excruciating with embarrassing surrealistic touches. It was a thoroughly dispiriting experience. Costumes were by Ann Hould-Ward (Allegro, Pacific Overtures). CSC artistic director John Doyle (Allegro, Pacific Overtures) designed the set and directed. Running time: two hours including intermission. NOTE: Seats in Row A are armless.

LaBute New Theater Festival (2018)

D

In 2016 the St. Louis Actors’ Studio brought six one-act plays to 59E59 Theaters for the LaBute New Theater Festival. Last year the number was down to four and this year there are only three. Unfortunately, not only has the number of plays diminished, but the quality has gone down as well. Not one of this year’s plays could be called a success, at least not by me. 

Neil LaBute’s entry, “Hate Crime,” opens the program. Perhaps to show that he is au courant on the topic of same-sex marriage, LaBute gives us a gay gloss on “Double Indemnity.” We meet two lovers, Man 1 (Chauncy Thomas) and Man 2 (Spencer Sickmann) in a hotel room where they are going over the details of their planned murder of Man 2’s older husband-to-be immediately after their upcoming wedding. Man 1, who constantly bullies Man 2, relishes the details of the brutal murder, which will be disguised as a gay-bashing.

In “Winter Break” by James Haigney, we meet three members of an Episcopalian family. Daughter Johanna (Kelly Schaschl), who has recently converted to Islam and renamed herself Aisha, is about to leave for Turkey where she plans to spend 2 1/2 weeks studying with a Sufi mystic. Her mother Kitty (Autumn Dornfeld) tries to respect her daughter’s choices, but is fearful enough to beg her not to go. Her gay older brother Bailey (Sickmann) is an Islamophobe who, fearing that she is a prime recruitment target for jihadist groups, questions whether she really intends to return from Turkey. The situation is believable, but the arguments are a bit circular. Nevertheless, I found this the best of the three.

“Percentage America” by Carter W. Lewis is the most ambitious play, but unfortunately trips over its attempts at satire. Andrew (Thomas) and Arial (Dornfeld), having met through an online dating site, are having their first date at Arial’s Washington, D.C. apartment. (That a woman would make her home the location for a blind date seemed unlikely to me.) After confessing to several liberties in their online profiles, they become intoxicated with the power of truth. At Arial’s suggestion, they decide to play a game whereby they “decipher” a news story by comparing how it is presented by various media, finding the most likely version and stripping away loaded adjectives to get to the verifiable truth. Somehow this game has an aphrodisiac effect on them. The story they decide to investigate involves an encounter between the president and a teenage girl (Schaschl) in the Rose Garden. The way it is treated by various media outlets of course reflects their biases. What the couple think they discover alarms them and raises questions about the cost of pursuing the truth. The concept is promising, but the treatment is clumsy and the play is twice as long as it should be. 

It is disheartening to think that these are the three best plays they could find for this year’s festival. The acting could best be described as competent. I was surprised that the male actors had to do double duty as stagehands between plays. The set design by Patrick Huber is simple and the costumes by Carla Landis Evans are unremarkable. John Pierson directed. Running time: one hour 40 minutes including intermission.

Miles for Mary

B

This is the first offering in a new initiative by Playwrights Horizons — the Redux Series, which will remount well-received off-off-Broadway plays deemed worthy of a larger audience. The Mad Ones, a five-person New York company “dedicated to creating visceral, ensemble-driven, highly detailed theatrical experiences that examine and illuminate American nostalgia,” premiered this work in 2016 at the Bushwick Starr. The play is set in the phys ed faculty’s office of Garrison High School in Garrison, Ohio from 1988 to 1989. Five faculty members, including three coaches, the AV guy and the AP English teacher, are gathered to begin planning the ninth annual Miles for Mary telethon to raise money for scholarships. A sixth committee member, absent for unspecified reasons, joins the proceedings via a balky speakerphone. The telethon is a memorial to a talented student athlete who was killed in an auto accident. The play basically consists of moments from this committee’s meetings over the course of a year. Along the way, we learn bits and pieces about the teachers and their relationships. The meetings are a hilarious case study in group dynamics run amok. Psychobabble is the lingua franca. Techniques that might serve teachers well in the classroom are not so successful when applied to each other. After a long, slow buildup, one of the teachers has a spectacular meltdown. There is much to enjoy here. The writing by Marc Bovino, Joe Curnutte, Michael Dalto, Lila Neugebauer (dir. The Wolves, The Antipodes) and Stephanie Wright Thompson, in collaboration with Sarah Lunnie and the creative ensemble of Amy Staats and Stacey Yen, negotiates a delicate balance between realism and satire. The ensemble (all the above minus director Neugebauer and dramaturg Lunnie) is flawless. The scenic design by Amy Rubin (All the Fine Boys) and the costumes by Asta Bennie Hostetter (Men on Boats, Fulfillment Center) recreate the look of the period down to the smallest detail. It’s all well-observed and often amusing, but becomes repetitive after a while. “Do More” may be the committee’s motto, but no one is quite sure what “more” means. As one teacher observes, sometimes less is more. Running time: one hour 55 minutes; no intermission.

Hindle Wakes

B-

Once again, Mint Theater’s artistic director Jonathan Banks has rediscovered an interesting British play from the early 20th century and given it a first-rate production. The playwright is Stanley Houghton, a Manchester theater critic turned author who died tragically at 32 only a year after this play brought him wide acclaim in 1912. The play combines family drama, social criticism, ethical and moral dilemmas, satire and a dash of feminism. It reminded me a bit of Shaw minus much of the wit. When the mill owner’s spoiled son Alan (Jeremy Beck) is caught out after a weekend fling with mill hand Fanny (Rebecca Noelle Brinkley), whose father Christopher (Ken Marks) is an old friend of Alan’s father Nathaniel (Jonathan Hogan), everyone — from Fanny’s mother (Sandra Shipley) to Alan’s mother (Jill Tanner) to Alan’s fiancee Beatrice (Emma Geer) and her wealthy father Sir Timothy (Brian Reddy) — has an opinion about what Alan should do. Shouldn’t Fanny have a say in the matter? Stay tuned. The production has been lovingly staged with an attractive set by Charles Morgan, excellent costumes by Sam Fleming, impressive dialect work by Amy Stoller and smooth direction by Gus Kaikkonen. It’s slow moving and the accents can be a bit challenging, but if you have a taste for well-produced neglected plays, you will be rewarded. About the title, “Hindle” is the name of the imaginary Lancastrian town where the play is set. “Wakes” refers to Wakes Week, a now-vanished custom whereby the local industry closed down for a summer week so everyone could go on holiday. Running time: 2 hours 15 minutes including intermission.

Mankind

D

If only I had left Robert O’Hara’s new play at Playwrights Horizons at intermission, I would have had a pleasant but abbreviated evening. Until that point, the satire had remained relatively sharp and focused and there was a sense that the play had reached its logical conclusion. Unfortunately, after a mood-breaking fifteen minutes, the play resumed and ran steadily downhill for another 45 minutes. O’Hara’s initial premise of an oppressive society where women have become extinct and men have developed the ability to bear children is a promising one. In a nice twist, abortion is still illegal, so when sex buddies Mark (Anson Mount) and Jason (Bobby Moreno; Grand Concourse, Fulfillment Center) seek one after Jason’s surprise pregnancy, they are arrested for attempted murder. When Jason gives birth to the first female born in a century, he and Mark unwittingly become founders of a new feminist religion with rituals highly reminiscent of Roman Catholicism. O’Hara takes potshots at patriarchy, talk shows, materialism, climate change, organized religion, feminism and the innate intolerance of mankind. I wish his inventiveness were coupled with more discipline. The satire generates surprisingly few laughs and rapidly becomes tedious. Four other actors — David Ryan Smith, Ariel Shafir, Stephen Schnetzer (Oslo) and scene-stealer Andre de Shields (The Wiz, The Full Monty) — play multiple roles. Clint Ramos (Bella, Familiar) has designed an overcomplicated set with a revolving platform and modules that are pushed this way and that. Dede M. Ayite’s (School Girls, The Royale) ecclesiastical garb is funnier than most of the dialog. Once again, O’Hara demonstrates why playwrights (with rare exceptions) should not direct their own work. “Barbecue,” with another director, was considerably more rewarding than either “Bootycandy” or this play. It was a frustrating evening of missed opportunities. Running time: 2 hours including intermission.