Buzzer **

I had high hopes for Tracey Scott Wilson’s play, newly arrived at the Public Theater after productions in Minneapolis and Chicago. The premise of an interracial couple moving into a gentrifying neighborhood with an addict friend in tow seemed promising. Jackson (Grantham Coleman) is an African-American from the ‘hood who got a scholarship to Exeter, went on to Harvard and Harvard Law and is now a successful lawyer. Don (Michael Stahl-David), a privileged white who has been his close friend since Exeter, is now an oft-relapsed addict. Jackson has been an intensely loyal friend who has taken Don in after each failed attempt at rehab. Jackson’s seemingly implausible decision to move back to the neighborhood he escaped from is motivated by a desire to return as victor. Jackson’s longtime live-in girlfriend Suzy (Tessa Ferrer, who bears an uncanny resemblance to the young Sandra Bullock), teaches school in a low-income area. She is not keen on moving to the old ‘hood and is definitely against allowing Don to move in with them while he once again attempts to get his act together. Jackson moves ahead on both fronts anyway. It does not turn out well for them. The apartment's broken buzzer is a metaphor. Although the play touches on race, class, codependency, gentrification and betrayal, it doesn’t shed much light on any of these topics. Don has by far the showiest role and Stall-David makes the most of it. Ferrer is an appropriately edgy Suzy. Coleman seemed a bit underpowered as Jackson, but the problem may be in the writing. Laura Jellinek’s attractive set suggests the appeal of the apartment and opens up to reveal the building’s lobby. Clint Ramos’s costumes were appropriate. The end of the play seemed rushed, but I don’t know whether the fault lies with director Anne Kauffmann or with the playwright. Running time: 90 minutes, no intermission.

The Commons of Pensacola **

(Please click on the title to see the complete review.)
Few first-time playwrights are lucky enough to have their debut effort presented by a major New York theater company, Manhattan Theater Club, directed by its artistic director, Lynne Meadow, starring two esteemed actresses, Blythe Danner and Sarah Jessica Parker. Amanda Peet, an actress known for "Studio 60 on the Sunset Strip"  and "The Good Wife," is that lucky person. Her play imagines the post-scandal life of Judith, a Ruth Madoff-like character (Danner), forced to live in straitened circumstances in a Florida condo, and the collateral damage to her family. Daughter Becca (Parker), an unsuccessful 43-year-old actress and her 29-year-old boyfriend Gabe (Michael Stahl-David), a self-styled "guerilla journalist," have arrived for a Thanksgiving visit. They are joined by teenaged granddaughter Lizzy (Zoe Levin), whose mother Ali (Ali Marsh) has broken off contact with Judith for reasons unknown. We also meet Judith's capable part-time homemaker-health aide Lorena (Nilaja Sun). What Judith knew about her husband's criminal activities is at issue. The troubled relationship between Judith and Becca is another focus. The play contains several interesting touches and the dialogue is actor-friendlly, but it doesn't add up to much. Although less than a rousing success, it at least provides the pleasure of seeing Danner and Parker on a New York stage again. I attended an early preview, so chances are it might improve before it opens. Santo Loquasto's set is appropriately nondescript. Running time: 1 hour, 20 minutes; no intermission.