Clybourne Park

photo: Joan Marcus

The two acts of Bruce Norris' often caustic, provocative comedy take place 50 years apart in the same house. (We've heard of the place already - it's the very one that the Younger family buys in A Raisin In The Sun.) In the stylized first act, set in 1959, "white flight" is about to alter the neighborhood when a superficially sunny homemaker (Christina Kirk, excellent) and her brooding husband (Frank Wood, ditto) pack their things after a personal tragedy. In the second act, set in 2009, the same house has been sold to a white couple (Annie Parisse and Jeremy Shamos, both deliciously transparent) whose plans for the property offend the black neighbors (Crystal A. Dickinson and Damon Gupton, both wonderful and adept at subtext). With wicked humor Norris contrasts the then and now of how we talk about race - in the first act with a veneer of politeness that masks ignorance and bigotry, and in the second act with a veneer of correctness that masks distrust and resentment. By the time the present-day liberal characters sink to sandbox level and start throwing mud at each other (think God of Carnage only smarter and funnier) the oft-outrageous comedy has made its point that the more things change the more things stay the same. What's especially striking about the play, despite what may seem a cynical message about our supposedly post-racial America, is that it's spiked with moments of genuine poignancy. Even its most bracing element, the first act's back story of the white couple's son (Brendan Griffin, precise and detailed), delivers its stinging message with a mournful compassion. Highly recommended.

Clybourne Park

photo: Joan Marcus

Several recent productions have dealt with the always-sensitive issue of race relations in America, but few have been as nuanced and well-constructed as Bruce Norris' Clybourne Park, which opens tonight at Playwrights Horizons. Set in two contrasting eras--segregated 1959 and the supposedly post-racial present--the play navigates the changing dynamics that both mid-century white flight and contemporary gentrification have proferred. In the first act, a white couple (Christina Kirk and Frank Wood) decide to quit their urban neighborhood in the wake of a personal cataclysm. The sale of their house (to an African American family) opens up a can of worms for the rest of the community, who cannot shake their deeply-rooted racism. Fifty years later, the neighborhood is now predominately black, and the plans for a white couple (Annie Parisse and Jeremy Shamos) to level the house that broke the color barrier causes longtime residents to question their sense of society. Norris, riffing well on Lorraine Hansbury's A Raisin in the Sun, manages to capture every aspect of both debates with aplomb; alternately hilarious and heartbreaking, he allows all of the characters to search the depths of their souls and discover things that they might have wanted left untouched. The cast is practically flawless, but special mention goes to Wood, quietly brilliant as a father who cannot overcome a horrific tragedy.

Forgotten

photo: Patrick Redmond

I was surprised by the emotional power and the striking theatricality of this solo show, in which writer-performer Pat Kinevane alternates flawlessly between 4 characters 80 years and older. The people he plays are living out their sunsets in Ireland, but Kinevane has punctuated the piece with some conventions of Japanese theatre. The juxtaposition of more naturalistic monologues with scenes of stylized Eastern movement proves to be both thematically valid and theatrically dynamic; it also frames the collection of stories in a way that allows them to gather a greater emotional resonance than they might on their own. Given the show's title, it's not surprising that the elderly characters are linked by loneliness; what is surprising given the theme is that Kinevane's writing is often as unsentimental as his characterizations are captivating. The piece plays like a ritual to honor the forgotten elderly that does, in fact, truly honor them.

Forgotten

Every now and then you see something truly unique, and Pat Kinevane's one-man show qualifies. A blend of Irish character studies and Japanese Kabuki theater, it is a superb showcase for this exceptionally warm and generous performer. The beauty of the Kabuki movements Mr. Kinevane uses to transition between scenes doesn't seem quite enough to explain their existence, but the happy temptation is to always give this work the benefit of the doubt, swept up as one is in its imaginative evocations of the lives of four aged survivors, now confined to nursing homes. More than a play, it's poetry, and an immersive experience. That's no mean trick for one performer to pull off. Read the full review.

A Lie Of The Mind

Reviewed for Theatermania.

The Pride

In Alexi Kaye Campbell's thoughtful, totally riveting drama we see two stories, one set in 1958 and the other in the present day, which involve the same actors playing same-named but different characters. What joins the alternating stories is that both are about gay love affairs; the playwright contrasts the then and now of gay love in thematically rich and emotionally powerful ways. What is most exciting and provocative about the play is its assertion that gay connotes an identity rather than an activity, and its underlying plea to recognize love rather than sex as the most progressive and most liberating connection between gay men. The play's main argument might seem authoral and the play's structure pretentious in less capable hands but this playwright falls into neither trap; he puts over the ideas while fleshing out believable, absorbing characters to draw us in emotionally. Under Joe Mantello's taut direction, the performances are gripping and truthful. In the 50's-set story as a married man who self-loathes his shameful "deviation", Hugh Dancy is heartbreaking: he has one scene of the "feel one thing, say another" variety that could draw tears from a stone. Ben Whishaw is especially exceptional in the present-day story, fully inhabiting a man whose erotic attraction to shame does damage to his love relationship. The other two performers are also excellent: Andrea Riseborough gives brilliant support completing each story's triangle, alternating between gravity and levity all evening; Adam James is unfailingly spot-on in several minor roles, most notably as a current-day magazine editor calling for a feature story that superficially glorifies anonymous gay hook-ups.