Permission

Permission

MCC Theatre

Lucille Lortel Theatre

June 6, 2015

Photo courtesy of MCC Theatre

Permission, MCC Theatre’s production of Robert Askins new play, did not deliver the bang I had expected.  Perhaps it was that Mr. Askins’ Hand to God was so ingenious that my hopes were too high.  Perhaps the performances lacked the timing and chemistry to deliver the laughs and punch the script deserved.  Perhaps the director did not have the insight to the deeper levels or rhythms of the script. Yes, to all of the above.

When Eric (Justin Bartha) and his wife Cynthia (Elizabeth Reaser) accidentally walk in on their friend Zach (Lucas Near-Verbrugghe) spanking his wife Michelle (Nicole Lowrence), they don’t know what to think.  They quickly exit the dinner party and plan not to speak of the incident.  Zach meets up with Eric the next day and explains that he spanks his wife for Jesus.  It is part of CDD (Christian Domestic Discipline) which, through the power of God, allows couples to become the best they can be.  Eric and Cynthia try it and, thanks to the grace of God, their lives become empowered and productive… until it all comes back to bite them in the ass (pun intended).

Photo courtesy of MCC Theatre

The first act is relatively short as the premise of the play is established.  Mr. Askins delivers an Act II with a few twists and reveals that make the play worthwhile.  Director Alex Timbers finds the timing in the final scene that builds the action to the point where the main couple, Eric and Cynthia, is able to take a realistic look at their relationship.  Unfortunately, that sharp timing was missing from the earlier parts of the show.

The set, designed by David Korins, transformed the small space at the Lucille Lortel Theatre into six different realistic locations.  Each set was quickly changed, revealed, and smoothly rolled downstage as David Weiner’s lighting and M. L. Dogg’s sound design kept the transitions delightful.  Well done gentlemen!

Photo courtesy of MCC Theatre

Robert Askins is a playwright who pushes the envelope.  It is possible that this is too strong a conclusion to draw since I have only seen two of his plays, but they both did that so well.  The dramatic question in Permission is about discipline, how far is too far, and who really holds the power.  Even though the driving forces behind the behavior in this play were not as deep and dark as in Hand to God, he is still the playwright to watch. 

Domenick Danza