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.

Animal

C-

Rejoice, Rebecca Hall fans. That marvelous mistress of misery is back in town. You can really see her up close at Atlantic Theater’s Stage 2 which has been reconfigured to divide the audience in two on facing sides. In this psychological drama with a dash of feminism by British playwright Claire Lizzimore, she plays Rachel, a young married woman who is suffering from deep depression. Her long-suffering husband Tom (played by Morgan Spector, her real-life husband who met her during the run of Machinal) can’t seem to help her. Her therapist Stephen (a droll Greg Keller; Belleville) apparently can’t either. We also see Rachel mistreating an old woman (Kristin Griffith); being kissed by Dan (David Pegram, War Horse), a shirtless stud who may or may not have broken into her house; and conversing with a mysterious little girl (Fina Strazza). After 85 minutes of exhausting, escalating emotions, the play is suddenly wrapped up and tied in a bow by an unexpected and unsatisfying explanation. I felt manipulated. Rachel Hauck’s set is minimalist to the point of near invisibility.. Sarah J. Holden’s costumes are congruent with the characters. Gaye Taylor Upchurch’s direction had a few things that annoyed me, e.g. having Rachel and Tom occasionally speak to each other through microphones from opposite sides of the stage. If you are an avid Rebecca Hall fan as am I, you will be rewarded. (Many will find the sight of David Pegram's torso rewarding too.) If Hall is not your cup of tea, skip it. Running time: 90 minutes, no intermission.

NOTE: If you have mobility issues, check with the theater before attending. The elevator has been broken for several days. There is alternative access via a freight elevator, but it involves a long detour through the bowels of the Google Building and one long flight of stairs.