The Four Of Us

**** (...out of five stars)

MTC

Like From Up Here, this other current MTC offering is also pretty damn great. Centering on the rocky friendship between two young writers, this Itamar Moses play's brilliance lied in the depth of its two characters and the fascinating structure that had our story bouncing backward and forward all over the timeline of their relationship. Michael Esper, who recently kicked some ass in Crazy Mary and Me, Myself & I is on a roll here giving another youthful, intelligent and very honest performance as a jealous struggling playwright. The handsome , sensitive Gideon Banner was also dead on for his role as a shy boyish novelist.

I went to two great plays in one weekend. Thanks MTC! Can't wait for Top Girls!

The Four Of Us

photo: Joan Marcus

A plot synopsis will tell you that Itamar Moses' new comic drama concerns two buddies who are both aspiring writers and that one becomes wildly successful while the other does not. But that's only what's on the surface: the highly enjoyable two-hander mines a lot more than the envy you expect from their dynamic. Although the flashbacks and flashforwards are once or twice a tad disorienting, and a couple of scenes may go on just a bit too long, the play has a pleasurably relaxed ryhthm that allows us to savor the often funny and easily identifiable ways that the characters reveal themselves. The play is wise, amusing and quietly touching in its depiction of a friendship between two well-meaning, likeable people that can not hold as is against life's changes: you don't have to be a writer to relate to that. The snappy production (at MTC's smaller space) also boasts two excellent performances from Michael Esper and Gideon Banner, who have believable good-friends chemistry together and who both perfectly nail the style of the piece. Highly recommended.

From Up Here

Photo/Joan Marcus

I took the weekend off from criticism so that I could just revisit some plays I very much enjoyed (Hostage Song and Too Much Light Make the Baby Go Blind), but a few things worth mentioning regarding From Up Here. First: it's exceptionally well cast, and it plays to the strengths of emotionally introspective Tobias Segal (Kenny), awkwardly outgoing Will Rogers (Charlie), serious yet friendly Brian Hutchinson (Daniel), and excitably charming Julie White (Grace). (The rest of the cast is great, too, I just haven't seen them in anything before.) Second: the only thing holding Leigh Silverman back from perfection is her own perfection -- that is, she just makes her plays too aesthetically pleasing. That honey-colored sweetness worked for Well, but it sanded off the pulp from Beebo Brinker, defaced Yellow Face, and kept From Up Here far from any real danger. I love her work, I just want to see her dig into it. And finally, Liz Flahive's script is pretty dead on, from the angst of an ignored sister (Aya Cash) to the conflict of a favored aunt (Arija Bareikis): those people who leave Stage I thinking the play is just about Kenny's emotional bottleneck are missing the whole point: we're all up there. Some of us just fall better than others.

[Also blogged by: Patrick]

Too Much Light Makes the Baby Go Blind

I didn't get to see new TMLMTBGBer Alicia Harding do very much in my latest (but first of the year, and thus eligible!) trip to The Kraine, but I did get graham crackers, a bag of Tate's Chocolate Chip Cookies (Christopher Borg, if you've googled yourself, yes -- they are that good), and a little too much exposure to Joey Rizzolo's adolescent dreamscape. Highlights include "The Council For Food" -- did you know food was good for you? -- the sweet, shared encounter of "The day I showed my hand," and the hysterically self-referential "MELTDOWN! DON'T CALL THIS PLAY, IT'S FULL OF LIES!" Oh, and they finished the show, it was still a deliriously fun evening, and they've got a new website. Pin pin, anyone? Pin?

crooked

What do The Pillowman's insane fiction, the gushing angst of From Up Here, and the sublime grace of 100 Saints You Should Know all have in common? Nothing. But the best of all three plays is present in Catherine Treischmann's superb new play, crooked, which, for all the twists in plot, never has the characters do anything but go straight for the heart. As Maribel, Carmen M. Herlihy excels as a fragile, isolated girl whose holds onto religion as a necessity: invisible stigmata make her important (and keep her from self-cutting), and Hell is the place where people like Deedee Cummings will rot for being so mean. It's a view of religion that can't be easily dismissed, and a character that can't be summed up with a one-dimensional adjective. She is joined also by the masterful Cristin Milioti, who plays Laney with such a desperate need for approval that even she is startled by her rebirth as a "Holiness Lesbian," and by Betsy Aidem, who makes Elise, Laney's mom, so solidly pragmatic that she's hardly recognizable a few glasses of wine later. Director Liz Diamond finds ways to enhance the magical world we live in, but she never strays from the electric realism of the play. What are you waiting for? Get bent!

[Read on]

From Up Here

****1/2 (...out of five stars)

MTC

Of the three of us Showdowners, I liked this play the most. Loved, in fact. This story about fractured family trying to rebound from a very serious incident that went down at the high school was very modern, sensitive and wholly engaging. Loaded with colorful, stressed-out characters crashing up against each other yet also desperate to reach out and hold each other, From Up Here was pushing the same buttons in me that last year's 100 Saints You Should Know did- another play that I flerging loved. Everyone in this cast is delivering some great performances with Julie White leading the pack. The desperate mommy angst emanating from her aura was heartbreaking and I wanted to climb onstage and give her a big fat gay hug.