After the Blast

C+

This new play by Zoe Kazan (We Live Here) at LCT3’s Claire Tow Theater is, as its title suggests, set after a thermonuclear apocalypse that has driven a few of the best and brightest survivors underground where they live in a tightly controlled community devoted to preserving a remnant of humanity and working toward healing the surface of the planet for an eventual return. Their difficult lives are eased by vaping THC or ‘sim’-ing,  i.e., enjoying simulations of former pleasures via chips implanted in their brains. Oliver (William Jackson Harper; Placebo), an important scientist, and his wife Anna (Cristin Milioti; Once) have been turned down four times for permission to have a baby because Anna could not pass the Mental Health Evaluation (MHE) due to her depression. Oliver brings home a helper robot, allegedly for Anna to train to help blind children, and, by her good works, raise her score on the MHE. She at first resists, but then gives in. She names the robot Arthur and grows quite attached to him. It’s easy to see why; he’s a charmer. Oliver and Anna have friends Carrie (Eboni Booth; Fulfillment Center) and Patrick (Ben Horner; Fucking A), who don’t get much chance to make an impression. David Pegram, Will Connolly and Teresa Yenque also have small roles. Oliver’s attempts to do right by his wife backfire. Almost every scene runs on too long, particularly in the first act. The play eventually just runs out of steam and ends rather abruptly which is a shame because it contains much of interest. The premise is fascinating, the cast is appealing, the set by Daniel Zimmerman (Suicide, Inc.) is both functional and attractive and the costumes by Kaye Voyce (4000 Miles, Luce) are subtly futuristic. I could not find a credit for the robot operator which seems an unfortunate omission. Director Lila Neugebauer (The Wolves, The Antipodes), who seems to work best with ensembles, doesn’t seem at the top of her form here. Running time: two hours 30 minutes including intermission.

Fly by Night **

This new musical, now in previews at Playwrights Horizons, tries so hard to be likable that I am feeling guilty that I am unable to surrender uncritically to its charms. Three graduate drama students at Yale (Will Connolly, Michael Mitnick and Kim Rosenstock) wrote it for a student production five years ago. It has since been produced in Palo Alto and Dallas, where it received enthusiastic reviews. Its plot concerns Harold (Adam Chanler-Berat), a nerdy young sandwich maker in New York who falls for two sisters from South Dakota — Daphne (Patti Murin), a bubbly extrovert who wants to make it as an actress in New York, and Miriam (Allison Case), the introverted older sister Daphne has dragged with her to New York, who enjoys being a waitress and would rather be back home looking at the stars. That’s my first problem: the two sisters are such complete opposites that I found it hard to believe that anyone could fall for both of them. In addition to the central triangle, we meet Harold’s recently widowed father (the always excellent Peter Friedman), his cranky boss Crabble (the fine Michael McCormick); Joey Storms (Bryce Reness), a wealthy playwright/producer/director who takes Daphne as his muse, and, finally, the narrator (the admirable Henry Stram), whose various roles include the sisters’ mother and a gypsy fortune teller, and who keeps the audience apprised of the play’s many time shifts back and forth during the year leading up to the great Northeast blackout of 1965. My second problem with the show was that I didn’t find the central characters nearly as interesting as the people who surround them. Harold’s father and his boss are considerably more vivid than Harold. Why Harold behaves so thoughtlessly to his father was not clear. The sisters seemed more like bundles of characteristics than characters. The music, played by an onstage band of four, is serviceable and perhaps more than that for those who like rock. There is one ditty that you will have trouble getting out of your head. The authors are skillful at knitting their material together: a song heard early on develops entirely new meaning by the time it returns. The climactic blackout is a well-played narrative device to knit many strands together. I give the authors credit for not flinching at presenting moments of sadness. The second act, after a promising start, began to drag. I think the play would gain from a substantial trim that would allow it to be performed without an intermission breaking the flow. The uncluttered unit set by David Korins is quite attractive. Jeff Croiter’s lighting design adds much to the play. Paloma Young’s costumes are appropriate. Carolyn Cantor’s direction is fluid. It’s hard to imagine a better production. Whether the slightness of the material can support this deluxe treatment is another matter. Running time: 2 hours 30 minutes including intermission.