Nomad Motel

C-

The New York premiere of this well-meaning but muddled drama by Carla Ching (Fast Company) is the current attraction at Atlantic Theatre Company’s Stage 2. Two intelligent high school seniors in Anaheim, CA — Alix (Molly Griggs; Linda), an American girl with a feckless single mother, and Mason (Christopher Larkin), a boy from Hong Kong with an absent widowed father — are paired by a high school teacher to work on a joint project. Alix’s mother Fiona (Samantha Mathis; American Psycho, Affluenza), an unemployed actress, has lost the family home and furtively moves Alix and her two unseen young brothers from one motel to another when she can’t come up with the rent. Alix’s salary as a waitress at a taco joint is the family’s only income. She longs to escape by getting into Pratt and becoming a landscape architect. Mason’s mysterious father James (Andrew Pang; Kafka on the Shore), apparently an enforcer for a crime syndicate, set Mason up in a home in Anaheim four years ago to benefit from an American education and get into a top university to study economics to become a hedge fund manager. He tries to keep tight control over his son even though absent, but cuts off his financial support and disappears after Mason is disrespectful during a phone call. The lonely, socially awkward Mason loves music and only wants to become a musician. Lest we somehow not grasp that Mason is sensitive, we learn that he is caring for an injured bird he rescued. When Fiona takes off again, leaving Alix on her own, Alix is forced to move in with Oscar (Ian Duff; Dutch Masters), an African-American ex-boyfriend who is still carrying the torch for her. When she doesn’t reciprocate, he kicks her out and, in desperation, she moves in with Mason. The plight of being undocumented or black is mentioned in passing; we learn that both Mason and Oscar have been victims of overzealous policing. The two parents eventually meet and commiserate over the sorrows of parenthood. There is also a ridiculous sword fight. The playwright touches many bases but does not dig deeply enough. The two central characters come across as less interesting to watch than their dysfunctional parents. The monochromatic gray set by Yu-Hsuan Chen (Inanimate), tasked to represent a series of motel rooms, Mason’s house and an abandoned convenience store, is not very helpful in establishing each setting. The costumes by Loren Shaw (Sojourners and Her Portmanteau) do not distract. The direction by Ed Sylvanus Iskander (Sojourners and Her Portmanteau, The Mysteries) has its awkward moments such as when two characters are forced to sit quietly during a long scene not involving them. All in all, it came across as a missed opportunity to adequately address several timely issues. Running time: two hours 15 minutes including intermission. NOTE: Avoid seats in Row A; it is not elevated above Row AA, so your view may be blocked.

Inanimate

C+

The Flea Theater has opened its new home on Thomas Street with this production in its Siggy Theater, named for Sigourney Weaver, a Flea founder. (The other two venues have yet to open.) Those familiar with the small downstairs theater in its former home on White Street will feel right at home here. It has similar dimensions — wide and shallow — and is quite intimate. Nick Robideau’s play, written for The Bats, the Flea’s resident company of young actors, is a good choice to carry on the Flea’s reputation for offbeat material. The heroine Erica (an excellent Lacy Allen) is a socially awkward 30-year-old who works as a grocery bagger in a small Massachusetts town. She loses her job when she is spotted talking to the items in a grocery cart. It turns out that she has a condition known as objectum sexualis, which involves attachment to objects rather than people. Her current main attraction is the sign at the local Dairy Queen, affectionately referred to by her as Dee (drolly personified by Philip Feldman). She also has had a thing for her floor lamp (Artem Kreimer), a stuffed animal (Nancy Tatiana Quintana), an Oxo can opener (Michael Oloyede) and assorted other objects. She confides in the equally awkward Kevin (Maki Borden), a former schoolmate of uncertain sexuality who has been working at the DQ for 13 years and who has a crush on her. Encouraged by his sensitive reaction, she finally gets up the nerve to explain things to her sister Trish (Tressa Preston), an ambitious local politician. Sarah Lawrence’s whimsical costumes are wonderful. The set design by Yu-Hsuan Chen makes good use of limited resources. The Bats are clearly enjoying their roles and their enjoyment is infectious. Director Courtney Ulrich’s staging is confident and fluid. The subplot about the sister’s ambitions does not blend well with the rest of the play. At times it is difficult to decide whether the playwright intends for us to feel sympathy or bemused scorn for Erica’s condition. It’s an edgy play that’s not for everyone. Running time: 85 minutes, no intermission.