Relevance

C

I was surprised to learn that JC Lee (Luce), the author of this new play in previews at MCC Theater, is a man. I erroneously assumed that a play about the battle between two feminists of differing generation and race must have been written by a woman. Perhaps it needed a woman to more clearly articulate what is at stake in their struggle. In any case, it came across to me as a muddled look at important issues. From moment to moment, it is hard to tell whether Theresa (the always wonderful Jayne Houdyshell; A Doll's House Part 2, The Humans), an established author on women’s issues, is really interested in defending truth in academia or just fighting to keep rising star Msemaji (the superb Pascale Armand; Eclipsed) from taking over her spotlight. Although Theresa loathes social media where everyone, no matter how stupid, has equal voice, when she discovers unsubstantiated evidence online that Msemaji may have misrepresented her biographical details, she is tempted to weaponize the information. The arguments about gender and race put forth by Theresa and Msemaji seemed circular and repetitive. There are two supporting characters — Kelly (Molly Camp; The Heiress, Close Up Space), moderator of their debate at an academic conference, and David (Richard Masur; Democracy, Olive and the Bitter Herbs), Theresa’s literary agent. The role of Kelly is satirized too broadly and David’s character seemed mainly there as a plot contrivance. The lack of a sympathetic character was an obstacle for me. The scenic design by Clint Ramos (Once on This Island, The Village Bike), with its revolving set and sliding panels and the projection design by Jeanette Oi-Suk Yew were perfectly executed. The set for the hotel room has an LED cityscape outside the window that was so eye-catching that I became more interested in watching it transform than in paying attention to the actors. The costumes by Jacob A. Climer (Kid Victory) were spot-on. Director Liesl Tommy (Eclipsed) did her best with a shaky script. I wish that the script were up to the high level of the production. To me, this is one more case where a play was rushed into production before it was ready. Running time: one hour 45 minutes; no intermission.

Kid Victory

C

One look at Clint Ramos’s deliberately dreary set design featuring a cluttered basement with a set of chains hanging on the wall put me on edge even before this very dark musical at the Vineyard Theatre began. It is hard to say much about it without spoiling the experience, but I will try. Luke (Brandon Flynn) is a teenager who has returned to his God-fearing Kansas family after disappearing under murky and possibly sinister circumstances for almost a year. Readjustment is difficult for all concerned. Luke’s mother Eileen (Karen Ziemba) wants to sweep everything under the rug and proceed as if nothing happened. Luke’s quiet father Joseph (Daniel Jenkins) appears to Luke to be avoiding him. Emily (Dee Roscoli) is a free-spirited shop owner Luke can be open with because she did not know him before his disappearance. Gail (Ann Arvia) is a well-meaning church member with an unusual approach to healing. Michael (Jeffry Denman) is a former history teacher with whom Luke shares an interest in boats. Suze (Laura Darrell) just wants Luke to be her boyfriend again. Mara (Darrell again) is Emily’s estranged daughter. Detective Marks (Joel Blum) thinks that Luke is withholding information. Andrew (Blake Zolfo) is a young man that Luke briefly meets. The story is told in fragments that move back and forth in time. To my surprise, I liked Greg Pierce’s book far more than John Kander’s music. In general, I did not think the music either heightened emotions or advanced the plot. There is a dance number that is wildly incongruous with the rest of the show. There are two or three characters that could easily be dispensed with. I really think the material would have worked better as a play without music. There are many strong points — fitting together the pieces of a complex story, keeping the audience waiting for the title character to burst into song, throwing in a few surprises, ending with a genre-defying scene. The cast is uniformly strong and the story is consistently interesting. Liesl Tommy’s direction is mostly assured, but occasionally leaves characters doing nothing for long periods. I admire Kander and Pierce for taking on such a difficult subject, but am not sure that musicalizing it was the best approach. Running time: one hour 45 minutes; no intermission.

Eclipsed ****

It’s hard to imagine that the same playwright Danai Gurira wrote both “Familiar” and “Eclipsed.” The former play was an enjoyable comedy of manners with African undercurrents. “Eclipsed “ is a devastating drama about the lives of four Liberian women living in a rebel compound as “wives” of the general. Gurira vividly differentiates her characters and captures their blend of cooperation and competition. Wife #1 (Saycon Sengbloh) was captured as a teenager and has come to accept her life. Wife #3 (Pascale Armand), several years younger, is flighty and pregnant. They unsuccessfully attempt to hide The Girl (Lupita Nyong’o), a teenager who has fled to the compound, to prevent her from becoming Wife #4. It turns out that Wife #2 (Zainab Jah) has become a hardened rebel soldier; armed with a rifle, she will be no man’s victim. Wife #1 is too proud and scornful to accept her assistance when she periodically returns to the compound. Rita (Akosua Busia), part of a visiting delegation of city women trying to end the civil war, takes an interest in the wives. She tries to get them to use their given names so they can reconnect with their past and see a future. Wife #2 recruits The Girl as a soldier. An uncertain future awaits at war’s end. The ensemble acting is exceptional with Nyong’o a standout. Except for a few slow moments in the first act, the play is consistently gripping. The set and costumes by Clint Ramos are evocative. Liesl Tommy’s direction is assured. Running time: 2 1/2 hours including intermission.

Appropriate

B

Playwright Branden Jacobs-Jenkins has created a southern family, the Lafayettes, who are right up there in theatrically dysfunctional behavior with any characters penned by Tennessee Williams, Horton Foote or Tracy Letts. The three Lafayette siblings have gathered at the family home in Arkansas, a former plantation, not long after their father's demise to hold an estate sale and auction the dilapidated house. The eldest, Toni (Johanna Day), an embittered recent divorcee, is in from Atlanta with her teen-aged son Rhys (Mike Faist), whose recent brush will the law has cost her her job. Bo (Michael Laurence) is a type-A New York executive who has brought along his Jewish wife Rachael (Maddie Corman) and two children, Cassidy (Izzy Hanson-Johnston) and Ainsley (Alex Dreier). To the consternation of his siblings, younger brother Franz f/k/a Frank (Patch Darragh), who had vanished 10 years prior after an incident with an underage girl, has reappeared with his New Age fiancee River f/k/a Trisha (Sonya Harum). It's not long before the three siblings are having at each other, pouring out resentment and blame. In sorting through the vast piles of their father's stuff, they come across an old album with photos of lynched blacks. Discovery of this album raises troubling questions about their father. The shouting and screaming are punctuated by a series of surprises. The playwright lays it on a bit thick, but the result is never boring. Clint Ramos's set is remarkable: it quickly creates a mood and has some surprises of its own. Director Liesl Tommy really keeps things moving. While the play has lots of negatives, for me at least, they were outweighed by its energy and ambition. I am not sure whether the title is the adjective or the verb or perhaps both. In selecting Jacobs-Jenkins for its Residency Five program, Signature Theatre has made a promising choice. I look forward to seeing what he does next. Running time: 2 hours 15 minutes including intermission (at 3/9 preview). Nudity alert: There's a short scene of partial male nudity.