After the Blast

C+

This new play by Zoe Kazan (We Live Here) at LCT3’s Claire Tow Theater is, as its title suggests, set after a thermonuclear apocalypse that has driven a few of the best and brightest survivors underground where they live in a tightly controlled community devoted to preserving a remnant of humanity and working toward healing the surface of the planet for an eventual return. Their difficult lives are eased by vaping THC or ‘sim’-ing,  i.e., enjoying simulations of former pleasures via chips implanted in their brains. Oliver (William Jackson Harper; Placebo), an important scientist, and his wife Anna (Cristin Milioti; Once) have been turned down four times for permission to have a baby because Anna could not pass the Mental Health Evaluation (MHE) due to her depression. Oliver brings home a helper robot, allegedly for Anna to train to help blind children, and, by her good works, raise her score on the MHE. She at first resists, but then gives in. She names the robot Arthur and grows quite attached to him. It’s easy to see why; he’s a charmer. Oliver and Anna have friends Carrie (Eboni Booth; Fulfillment Center) and Patrick (Ben Horner; Fucking A), who don’t get much chance to make an impression. David Pegram, Will Connolly and Teresa Yenque also have small roles. Oliver’s attempts to do right by his wife backfire. Almost every scene runs on too long, particularly in the first act. The play eventually just runs out of steam and ends rather abruptly which is a shame because it contains much of interest. The premise is fascinating, the cast is appealing, the set by Daniel Zimmerman (Suicide, Inc.) is both functional and attractive and the costumes by Kaye Voyce (4000 Miles, Luce) are subtly futuristic. I could not find a credit for the robot operator which seems an unfortunate omission. Director Lila Neugebauer (The Wolves, The Antipodes), who seems to work best with ensembles, doesn’t seem at the top of her form here. Running time: two hours 30 minutes including intermission.

Once **

(Please click on the title to see the complete review).
Clearly the producers of this musical based on the popular 2006 Irish movie knew what they were doing when they moved it uptown from the New York Theatre Workshop. As I looked around, I guessed that the audience probably had a median age in the low 30's. Not only were they young -- they were enthusiastic, greeting every song with raucous applause and every line of dialogue with peals of laughter. A festive mood is established by the musicians playing lively Irish music onstage before the play. The onstage bar service, which was repeated at intermission, didn't hurt either. The cast of musician-actors, led by Steve Kazee as Guy and Cristin Milioti as Girl, is extremely talented. The cozy bar setting by Bob Crowley is most inviting. It seems almost ungracious of me to admit that I didn't much care for the show. The dividing line between charming and trite was crossed too often for my taste. But so what? I applaud the producers for attracting a young, involved audience to Broadway. Unless you are a major fan of the film or of Irish music, you may want to skip it. Send your grandchildren instead. Glen Hansard and Marketa Irglova wrote the songs, Enda Walsh wrote the book and John Tiffany directed. Running time: 2 hours, 25 minutes including intermission.