Summer Shorts: Series B

B

The second installment of this year’s one-act play festival at 59E59 Theater B begins with a work by Share White (The True, The Other Place), and concludes with one by Neil LaBute (The Shape of Things, Reasons To Be Pretty). In between, we get a comedic piece by Nancy Bleemer (Centennial Casting) which will become part of a trilogy. In White’s piece “Lucky,” set in the late 1940’s, we meet Meredith (Christine Spang; The Drunken City), a war bride whose husband Phil (Blake DeLong; Illyria) has mysteriously not returned home after WWII. She knows only that, although uninjured, he had been in a hospital. When she learns that he has just returned to town, she rushes to his hotel room to confront him. For a long — too long — time, all she gets from the sullen Phil is one-word responses that do not explain why he had not returned or whether he planned to stay. The answer is not worth the wait. One annoying quirk is that Phil performs the entire play with shaving cream on his sideburns. The festival’s artistic director J.J. Kandel (Sparring Partner) directed. In “Providence,” Bleemer introduces us to Michael (Jake Robinson; Midnight in the Garden of Good and Evil) and Renee (Blair Lewin), a mostly happily married couple who are spending a sleepless night in the narrow bed of Michael’s childhood bedroom on the night before his sister's wedding. Their 3 a.m. conversation attracts the attention of Pauly (Nathan Wallace), the nervous groom-to-be, who seeks their advice on what married couples can talk about. Apparently his parents were not big on conversation. Pauly’s intrusion exposes a few fault lines in their marriage, but one has no doubt that all will be fine. The characters are likable and their comical situation is fun to watch. Ivey Lowe directed. LaBute’s “Appomatox” shows the playwright in much better form than he displayed in his three one-act plays last winter. We meet buttoned-down Caucasian Joe (Jack Mikesell; The Nap) and seemingly easy-going African-American Frank (Ro Boddie; Socrates) who get together weekly to have lunch and toss the ball. Joe shares his enthusiasm about Georgetown students’ vote to pay $27.20 in extra fees to atone for the university’s sale of 270 slaves. He is puzzled by Frank’s complete lack of enthusiasm and pushes him to explain his reasons. Their conversation gradually escalates into dangerous territory that casts doubt on the possibility of interracial understanding. LaBute builds the tension skillfully and all too convincingly. Duane Boutté's (LOL) direction is assured. It was by far the most substantive offering of this year’s festival. Running time: 90 minutes, no intermission.

Summer Shorts Series B

B-

The 11th edition of the Festival of New American Short Plays continues at 59E59 Theater with its second evening of Summer Shorts.

Each play in Series B offers a critique of a social institution, specifically the Church, the big wedding and big sports.  

In A Woman by Chris Cragin-Day, we meet Kim (Jennifer Ikeda; Linda and Vietgone) and Cliff (Mark Boyett), Kim’s longtime friend and recently arrived pastor, as they address the issue of whether women should be allowed to serve as church elders. It’s very low key and director Kel Haney respects that.

Lindsey Kraft and Andrew Leeds put the “bash” in Wedding Bash. When newlyweds Lonny (Donovan Mitchell) and Dana (Rachel Napoleon), who think their wedding was the greatest ever, invite friends Alan (Andy Powers) and Edi (Georgia Ximenes Lifsher) over for dinner, they get some surprising feedback. It has some very funny moments and a few wry observations about the place of weddings in our culture. I wish the satire had been pumped up a few notches. J.J. Kandel, Festival founder, directed.

The final play, written and directed by Festival stalwart Neil Labute (Reasons To Be Pretty), brings us to the world of professional tennis. Two players, superstar Oliver (John Garrett Greer) and the less successful Stan (Keilyn Durrel Jones) are about to meet in the semifinals of the French Open. They have an extended verbal volley during which some unattractive aspects of pro tennis (or any pro sport) come to the fore. 

All three plays are very well acted. Rebecca Lord-Surratt’s simple set makes effective use of shoji screens. Amy Sutton’s costumes are fine.

It’s a pleasant enough evening, but if you only have time for one program, I suggest seeing Series A instead.

Running time: 90 minutes, no intermission.

Summer Shorts: Series A ***

59E59 Theater is once again hosting the Summer Shorts Festival of New American Short Plays. Series A features works by Neil LaBute (most recently The Way We Get By), Vickie Ramirez and Matthew Lopez (The Whipping Man). 

LaBute’s 10K  presents two joggers, a woman (Clea Alsip) and a man (J.J. Kandel), who are certainly among the fittest actors on a New York stage. Although they are jogging for almost the entire play, their bodies and their voices show no signs of fatigue. They meet on their daily run in a nature reserve and carry on a conversation that gradually grows more personal and leads them to reveal their fantasies. It’s a minor work that is superbly realized. The playwright directed.

Glenburn 12 WP by Ramirez is the evening’s weak point. Troy (Tre Davis), a young black man who has been at an anti-racism protest at Grand Central Terminal, enters a nearby Irish pub to have a beer. The bartender is unaccountably absent. He is soon joined by Roberta (Tanis Parenteau), a woman in her 30s who is a regular at the bar and who turns out to be part Native American. She tries to persuade him to have a drink, but he is reluctant to without the bartender there. She provokes him into a conversation and offers to pay for his drinks. When she goes down to the cellar allegedly to see if the bartender is there, she returns with a bottle of the very expensive Scotch for which the play is named. After a couple of drinks, she reveals a dark secret, which seemed completely implausible. The actors did their best with poorly written characters. Mel Haney directed.

The Sentinels by Lopez introduces us to three 9/11 widows whose husbands worked for the same firm and who meet at a coffee shop near ground zero every year. Alice’s (Meg Gibson) husband was the company’s founder. The acerbic Christa (Kellie Overbey) was married to an important executive there. Kelly’s (Michelle Beck) husband was a recent hire. Zuzanna Szadkowski is the waitress. The gimmick is that the story is told backwards starting in 2011 and proceeding in short scenes back to 2000. The concept is better than the execution. The short scenes don’t really build in intensity. The cast was good. The flatness seemed more in the writing than in Stephen Brackett’s direction.

Rebecca Lord-Surratt’s set design transformed nicely between locations. Dede Ayite’s costumes were apt. The evening was pleasant but not memorable. Running time: 1 hour 35 minutes, no intermission.