Daniel's Husband

C+

It would be easy to dismiss Michael McKeever’s (Clark Gable Slept Here) play as the theatrical equivalent of a gay Lifetime movie, but it was sufficiently well-received during its recent run at Primary Stages that it has been brought back for an encore run at the Westside Theatre. Architect Daniel (Ryan Spahn; Summer and Smoke, Gloria) and gay pulp fiction author Mitchell (Matthew Montelongo; A View from the Bridge, The Ritz) are entertaining Mitchell’s older literary agent Barry (Lou Liberatore; Burn This, As Is) and his latest boy-toy Trip (Leland Wheeler), a home health care aide. Over after-dinner drinks, Trip innocently asks why Daniel and Mitchell, who have been together seven years, have not married. His question sets off a vehement tirade by Mitchell against marriage, gay assimilation and conformity. Daniel would like to marry, but Mitchell is adamant and their disagreement is a sore spot in their otherwise harmonious relationship. Another source of unease is the impending arrival of Daniel’s overbearing mother Lydia (Anna Holbrook; Raising Jo), whose visits are a cross for Daniel to bear. When catastrophe strikes, Mitchell has to pay a high price for his choices. Montelongo makes the most of this climactic moment. Brian Prather’s (Freud’s Last Session) midcentury modern living room set befits an architect. Gregory Gale’s (Rock of Ages) costumes suit their characters well. Joe Brancato’s (The Life & Blues of Bessie Smith) direction is unobtrusive. While this cautionary tale is both manipulative and predictable, it is elevated by good actors who make the characters and relationships convincing and by high production values. Running time: 95 minutes, no intermission.

Gloria ****

No one can accuse Obie winner Branden Jacobs-Jenkins (Appropriate, An Octoroon) of repeating himself. Each of his three plays that I have seen creates its own world completely unlike that of the other two. His latest play, now at Vineyard Theatre, draws upon his experience working at the New Yorker for a few years. For the first 45 minutes, the play seems to be a witty workplace satire about assistants at a prestigious magazine. Then the mood abruptly shifts, to put it mildly. To say more would spoil your experience. The remainder of the play depicts the effects of a life-changing event on some of the people who experienced it and raises this question: when something newsworthy happens, who “owns” the story? The playwright also paints an unflattering picture of today's media scene in which stories become mere fodder for the ravenous film/television/social media/publishing beast. In Act One we meet three editorial assistants — Dean (Ryan Spahn), Ani (Catherine Combs) and Kendra (Jennifer Kim); Miles (Kyle Beltran, who made such a strong impression in Fortress of Solitude), a college intern; Lorin (Michael Crane), a somewhat older fact checker; and the title character (Jeanine Serralles, recently in Verite), a socially awkward longtime employee from another department. Each character is vividly sketched and the dialogue rings true. The first act is literally a tough act to follow. In the second act, all the actors except Crane play one or more new characters. The excellent cast is adept at changing roles. One of the play’s strengths is that, at any given moment, I had no idea where it was heading. The scenic design by Takeshi Kata captures the sterility of the modern cubicled office. The costumes by Ilona Somogyi are unobtrusively apt. Evan Cabnet’s direction is rock solid. In case there was any doubt, Jacobs-Jenkins demonstrates that he belongs in the first rank of contemporary American iplaywrights. Running time: 2 hours including intermission.