The Cost of Living (Broadway)

B+

Although I was favorably impressed by Martyna Majok’s four-character drama when MTC presented it off-Broadway five years ago, I was surprised when it was awarded the Pulitzer Prize for Drama in 2018. I suspect that its skillful treatment of marginal people in our society played a significant role in their choice. MTC has decided to revive it and move it to its Broadway venue, the Samuel J. Friedman Theatre. Two of the characters are marginalized by disabilities – John by cerebral palsy and Ani by the loss of her legs in an accident. Gregg Mozgala and Katy Sullivan powerfully recreate these roles. John’s situation is mitigated by having a Harvard education and sufficient economic resources to hire a private aide. The other two characters are marginalized by economic hardship. John's newest aide, Jess (Kara Young; Clyde’s), is an attractive young woman who, although she had attended Princeton, supports herself by working as a late-night barmaid. Ani’s husband Eddie (David Zayas; Jesus Hopped the A Train, “Dexter”), whom we meet in the extended monologue that opens the play, is an unemployed truck driver haunted by Ani’s recent death. The bulk of the play is a series of scenes of Eddie and Ani alternating with scenes of John and Jess. Two of the play’s most moving scenes take place in bathrooms where we see Jess shaving and showering John and Eddie giving a bath to Ani. The play's strengths include not portraying the disabled characters simplistically and in giving equal time to the needs of their caregivers. Each character is vividly sketched to the point that I wanted to know more about them. Until the final scene, each character interacts with only one other. In that scene a new heartbreaking connection is made. I wish the author had omitted a brief manipulative reversal at the very end. The entire production is first rate: the acting, the revolving set by Wilson Chin (Aubergine, My Mañana Comes), the character-appropriate costumes by Jessica Pabst (The Ruins of Civilization), the dramatic lighting by Jeff Croiter (Bandstand, Falsettos) and the smooth direction by Jo Bonney (By the Way, Meet Vera Stark). Seeing it is a worthwhile, if sometimes painful, experience. Running time: one hour 50 minutes, no intermission.

Clyde's

 A-

Twice Pulitzer-awarded playwright Lynn Nottage (Ruined, Sweat) wrote this comedy with serious overtones and a touch of magic realism at the same time that she was working on Sweat. Both share a Reading, PA setting but are otherwise quite different. Clyde’s (formerly called Floyd’s when it premiered at the Guthrie Theater in 2019) is the name of the roadside sandwich shop owned by the titular character (Uzo Aduba, Godspell, “In Treatment”). All her employees have been recently released from jail. Taking full advantage of the fact that they are desperate, she treats them abominably and tries to squeeze any drop of hope out of them. We meet Letitia (Kara Young, Halfway Bitches Go Straight to Heaven), a young single mother with a chronically ill child; Rafael (Reza Salazar; Sweat, My Mañana Comes), a romantic Latino; newly hired Jason (Edmund Donovan, Greater Clements, Lewiston/Clarkson), who is covered with gang tattoos; and Montrellous (Ron Cephas Jones, “This Is Us,” “Mr. Robot”), an older man of philosophic bent who inspires the others with his quest for the perfect sandwich. We learn the backstory of each employee. As they work, they describe to each other their vision of sandwich perfection and occasionally make one for the others to try. Significantly, Clyde refuses to try any of Montrellous’s creations. The acting is universally superb. The set by Takeshi Kata (Cambodian Rock Band), lighting by Christopher Akerlind (Indecent, The Last Ship) and costumes by Jennifer Moeller (Sweat, Aubergine) contribute greatly to this Second Stage production. Kate Whoriskey, who has often demonstrated her affinity for Nottage’s work before (Ruined, Sweat, Intimate Apparel), directs with smooth precision. The ending will definitely get your attention. A word of caution: don’t attend when you are hungry — the rapturous descriptions of ideal sandwiches will have you salivating. (Running time 100 minutes, no intermission.)

All the Natalie Portmans

C-

MCC Theater is presenting the world premiere of this depressing family drama by C.A. Johnson (Thirst). Keyonna (Kara Young; The New Englanders) is an unhappy black lesbian high school student in D.C. who seeks escape from her bleak reality by covering her wall with photos of movie stars. Her particular favorite is Natalie Portman (Elise Kibler; Napoli, Brooklyn), who becomes her imaginary friend. Her loving older brother Samuel (Joshua Boone; Network, Actually) is having sex with their mutual friend Chantel (Renika Williams; The Climb), with whom Keyonna once shared a kiss. Samuel works in a bar once frequented by their late father, the circumstances of whose death are never explained. Their mother Ovetta (Montego Glover; Memphis) is an alcoholic who spends her hotel salary on booze and gambling rather than on the rent. She placates their landlord with sexual favors. Samuel gets into trouble with the law and Keyonna stops attending classes. Eviction looms on the horizon. A series of mother-son and mother-daughter conversations provides a showcase for Ms. Montego’s talents. The fantasy interludes in which Natalie Portman appears dressed for one of her movie roles are amusing at first, but do not really lead anywhere. The set by Donyale Werle (The Legend of Georgia McBride) is appropriately dreary. Jennifer Moeller’s (Sweat, Aubergine) costumes seemed apt. Kate Whoriskey (Sweat. Ruined) is a fine director, but not even she can work magic with this material. All in all, it made for a dispiriting afternoon. Running time: two hours, including intermission.