King James

 B

After well-received runs at Steppenwolf in Chicago and Center Theatre Group in Los Angeles, Rajiv Joseph’s (Bengal Tiger at the Baghdad Zoo, Describe the Night) two-character play about fandom and friendship has reached New York in a Manhattan Theatre Club production at City Center Stage I. The royal personage of the title is LeBron James, whose basketball career in and out of the Cleveland Cavaliers is the focus of both devotion and frustration for Matt, a manically neurotic wine bar manager, and relatively more grounded Shawn, a would-be writer, who meet when Matt is forced by financial problems to sell his season tickets to the Cavs. The two bond over their shared fandom and become good friends. We observe the ups and downs of their friendship over twelve years at four key moments in LeBron James’s career. Luckily for us, the roles of Matt and Shawn are performed by Chris Perfetti (Sons of the Prophet, The Tutors) and Glenn Davis (Downstate, Wig Out!), who play exceptionally well together. The playwright shows us how shared fandom can serve as a socially acceptable basis for a platonic bromance. Matt is white and Shawn is black, a fact that becomes relevant for a brief scene late in the play. The lively dialog has a convincingly natural flow but I would have liked a stronger narrative arc. Todd Rosenthal’s (August Osage County, Linda Vista) set for the first act presents the rather generic looking wine bar where Matt works; the second act is set in the funky antiques cum upholstery store owned by Matt’s parents, which offers lots of interesting objects to look at. The costumes by Samantha C. Jones are apt. Kenny Leon’s (Soldier’s Play, Topdog/Underdog) direction is smooth. My only serious objection is to the inclusion of a DJ (Khloe Janel) who plays loud hip-hop music before the play and during intermission. Do we really need a trendy version of the national anthem complete with crowd noise before the play begins? In case you are concerned that the play is strictly for knowledgeable sports fans, you need not worry. It is completely accessible to all. Running time: two hours ten minutes including intermission

Describe the Night

B+

Atlantic Theater Company is presenting the New York premiere of Rajiv Joseph’s (Guards at the Taj, Bengal Tiger at the Baghdad Zoo) play that blends fact and fiction, realism and surrealism in an intricate story covering the period between 1920 and 2010 in Russia, Poland and East Germany. With only eight characters, it may not qualify as an epic but it is certainly an ambitious and complex work. Four of the leading characters are based on historical figures: famed Russian writer Isaac Babel (Danny Burstein), Soviet Secret Police chief Nikolai Yezhov (Zach Grenier), Yezhov’s wife Yevgenia (Tina Benko) and an ambitious young KGB agent nicknamed Vova (Max Gordon Moore). Babel and Yezhov meet in Poland in 1920 and become unlikely friends. Sparks fly when Babel meets Yevgenia. We also meet Feliks (Stephen Stocking), a car rental agent, and Mariya (Nadia Bowers; The Farnsworth Invention), a journalist, who are witnesses to the mysterious plane crash in 2010 that wiped out most of the Polish government. Mrs. Petrovna (Bowers again) is Mariya’s landlady. Urzula (Rebecca Naomi Jones; Marie and Rosetta, Big Love) is a young East German singer who wants to escape to the West in 1989. The playwright follows the basic facts of the relationship between Babel and the Yezhovs fairly closely up to 1940, but puts his own fantastical spin on the Yezhovs’ fate. The story jumps around in time and place and challenges the audience to follow along. There are scenes that are quite dramatic, others that are very funny and a few that don’t have much impact but are necessary to connect the dots. The title of the play comes from Babel’s direction to himself in his writing journal. The travels of this journal over 90 years form the backbone of the play. To say more about the plot would risk spoiling the pleasure of discovery. Zach Grenier (33 Variations, Storefront Church), Tina Benko (The Crucible, Scenes from a Marriage) and Max Gordon Moore (Indecent, Man from Nebraska) are a pleasure to watch. While I admire Danny Burstein (Fiddler on the Roof, Golden Boy) for his willingness to take risks, he seems miscast here. The main design feature of the set by Tim Mackabee (The Penitent, Guards at the Taj) remains unused for most of the play. The period costumes by Amy Clark (Chaplin) are excellent. Giovanna Sardelli (Animals out of Paper) directs with a sure hand. While I found the play intellectually satisfying, it did not engage me fully at the emotional level. The characters seem more like pieces of a puzzle than individuals worthy of empathy. Nevertheless, it offers a stimulating theatrical experience. Running time: two hours 55 minutes including two intermissions.

Guards at the Taj *

If this is the play that won the 2015 Laurents-Hatcher Foundation Award of $150,000 ($50,000 to playwright Rajiv Joseph, $100,000 for the production), the pickings must have been mighty slim. The best I can say about it is that it provides employment for two excellent actors, Omar Metwally and Arian Moayed. I was happy to learn that a generous donor financed a trip to India for the actors to see the Taj Mahal. With what they have to endure every night at the Atlantic Theater, they earned it. Humayun (Metwally) and Babur (Moayed) are members of the Royal Guard at Agra. Although from very different backgrounds, they have been friends since childhood. Humayun, from a privileged family, is the organization man ready to obediently do whatever he is asked. Babur, of humble origins, has a rebellious streak and is a dreamer, thinking up fanciful inventions like a transportable hole and a palanquin that can fly to the stars. When the play begins, they are on guard just before dawn on the day the Taj will first be revealed after 16 years of construction. When the emperor decides to insure that no one who worked on it will ever be able to build something more beautiful, they must carry out his order. The tone of the play wavers unsteadily between Grand Guignol and black comedy. About two-thirds of the way through the play’s seemingly endless 80 minutes, one of the characters says “There is no point.” I could not have said it better. Timothy R. Maccabee’s set is effective in its simplicity and Bobby Frederick Tilley II’s costumes are evocative. Steppenwolf member Amy Morton (Who’s Afraid of Virginina Woolf, August: Osage County) directed. If you are unlucky enough to already have a ticket, I suggest not dining before the performance. Running time: 80 minutes, no intermission.

The North Pool ***

(Please click on the title to see the complete review.)
When Dr. Danielson (Stephen Barker Turner), the vice-principal of a large public high school, summons Khadim Asmaan (Babak Tafti), a Middle-Eastern-born transfer student, to his office at the end of classes on the final day before Spring Break, Khadim has no idea why. For the next 85 minutes, they engage in an escalating verbal duel. Danielson is not the one-note bureaucrat he first appears to be and Khadim is not just a cocky student he is badgering. Joseph effectively holds the audience is his grip as he springs a series of surprises that keep changing our perception of the two characters. The play almost never heads in a predictable direction. The story has too many subplots for its own good and some of them are less than plausible. Nevertheless, the play is well worth seeing for the gripping performances of Turner and Tafti. Donyale Werle's set is the perfect recreation of a high school office and Paloma Young's costumes are just right. Director Giovanna Sardelli certainly knows how to build and maintain tension.

Gruesome Playground Injuries *

As I had very much enjoyed Rajiv Joseph's Animals out of Paper a few years back, I was very much looking forward to his latest play now at Second Stage in a production starring Pablo Schreiber and Jennifer Carpenter directed by Scott Ellis. Alas, lightning did not strike twice for me. This tale of accident-prone Doug and troubled Kayleen from ages 8 to 38 failed to grab my interest despite fine acting, good direction and a clever minimalist set by Neel Patel. The several scenes, presented out of chronological order, each present the characters in the wake of some personal injury. The tone drifts between comedy and drama. As adults, they only meet about once every five years. What happened during the gaps between visits is left for us to imagine, which leaves the characters' motivation insufficiently clear. I found the experience frustrating and have decided to pass on Joseph's Bengal Tiger at the Baghdad Zoo, soon to be on Broadway with Robin Williams.

The running time is 80 minutes without intermission.