Kings

B-

Playwright Sarah Burgess, who had her Public Theater debut with Dry Powder,  a dark comedy about a private equity firm, is back with a new play that gives us a look at the corrosive effect of money on American politics as seen from the viewpoint of two lobbyists, a new congresswoman and a veteran senator. The well-connected Lauren (Aya Cash; The Light Years, The Other Place) used to work for Texas Sen. John McDowell (Zach Grenier; Describe the Night, 33 Variations) and now lobbies him. Kate (Gillian Jacobs; “Community”), a less successful lobbyist whose client list consists mostly of minor medical associations, is Lauren’s frenemy. Rep. Sydney Millsap (Eisa Davis; Passing Strange, Preludes), an African-American Gold Star widow from Dallas who has surprisingly won her seat in a special election, hasn’t yet learned how the influence-peddling game works and doesn’t want to. On the positive side, the play captures the soul-sucking tedium of spending hours on the phone calling potential donors and hosting a seemingly endless round of fundraising events. The example of lobbying against a bill to eliminate carried interest is timely. The illustration of the depths to which unidentified deep-pocketed donors will go to get their way is ugly if not shocking. I was relieved that there is no specific mention of the current occupant of the White House. The portrayal of three strong women characters is appealing. On the negative side, characters often seem more like contrivances than flesh and blood people and the tone occasionally veers toward the pedantic. The political maneuvering onstage offers no surprises to anyone who follows the news regularly, but in today’s climate, it is almost comforting for its predictability and familiarity. The play is intelligent and reasonably entertaining, but seems a bit repetitive. The significance of the title eluded me. The actors are all strong. The decision to stage the play with the audience on two sides is problematic. The scenic design by Anna Louizos (In the Heights, School of Rock) features four bar stools and two tables that are reconfigured with annoying frequency and occasionally revolve. Paula Tazewell’s (Hamilton, The Color Purple) costumes suit their characters well. Thomas Kail (Hamilton, Dry Powder) directed. Warning: You may have a craving for fajitas afterwards. Running time: one hour 45 minutes; no 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.

The Vandal ***

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Actor Hamish Linklater's (School for Lies, Seminar) debut effort as a playwright is now at The Flea Theater. Deirdre O'Connell (Circle Mirror Transformation, In the Wake) plays a withdrawn woman waiting for a bus at a stop in Kingston, NY near a hospital and a cemetery. Noah Robbins (The Twenty-Seventh Man) portrays a loquacious, philosophical 17-year old boy who pesters her until she agrees to buy him beer at a nearby liquor store. The somewhat menacing man who owns the liquor store, played by Zach Grenier (33 Variations, The Good Wife), claims to be the boy's father. In each of four scenes in which the characters exchange self-protective lies, the woman appears with either the boy or the man. There is a big reveal near the end that changes your understanding of all that has preceded. The actors are all top-notch and the dialog flows effortlessly. Clearly Linklater has a love of words and a talent for giving actors a chance to shine. A lengthy monologue in praise of Cool Ranch Doritos may not sound enticing, but it drew applause. The set by David M. Barber is modest, but efficient. Claudia Brown's costumes are fine. Jim Simpson's direction is smooth. The play seems a bit slight and the ending a bit flat. Nevertheless, Linklater shows a lot of promise and I look forward to seeing his next effort. Running time: 75 minutes.

Storefront Church ***

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The final installment of John Patrick Shanley's Church and State trilogy, now in previews at the newly reopened Atlantic Theater mainstage, is quite different from the other two plays, first of all in length. It has two leisurely acts over two hours as compared to their economical 90 minutes. Although not as good as Doubt (not many plays are), it is much better than Defiance. Actors must love Shanley; he certainly can write a juicy part. All six actors get a chance to shine here. Tonya Pinkins, who made such a strong impression in both Milk Like Sugar and Hurt Village earlier this season, gets to use a Spanish accent and show off her beautiful singing voice. Poor Zach Grenier has to keep his face grotesquely contorted throughout the play. The role of Pinkins's Jewish husband fits Bob Dishy like a glove. Ron Cephas Jones, who also impressed in Hurt Village, portrays a pentecostal minister who is spiritually blocked. Jordan Lage is both amusing and convincing as a bank CEO. The central character is Giancarlo Esposito, as the Bronx borough president. The action takes place at the intersection of politics, religion and commerce. It is loosely based on the controversy over redeveloping the Kingsbridge Armory in the Bronx (which still sits empty today), as well as the current mortgage crisis. The play has its flaws -- it rambles a bit, some of the motivations are unclear (particular those of Pinkins' character), some of the themes are underdeveloped and the final scene doesn't pack as much punch as I hoped it would. The sets by Takeshi Kata are bland, perhaps deliberately so, but the costumes by Alejo Vietti are perfect. Shanley's direction is assured. and full of grace notes.  Although far from perfect, it is consistently entertaining. I urge you to see it.