American Son

American Son

Booth Theatre

December 8, 2018

Photo courtesy of American Son

In his play, American Son, playwright Christopher Demos-Brown brings emotional depth and a broader perspective to the harsh realities of our present day social struggle and racial divide.  Director Kenny Leon builds the dramatic tension while the main characters revisit the misunderstandings and betrayals in their marriage during a highly vulnerable event.  The distance between this newly separated husband and wife starts with the difference in their race and upbringing, then shift to their egos, deep rooted fears, and unfulfilled expectations.  Kerry Washington and Steven Pasquale are both riveting, delivering truthful performances grounded in a genuine sense of connection.   

Kerry Washington, Steven Pasquale, & Jeremy Jordan
Photo courtesy of American Son

It is 4:00 AM in a police station in Miami, Florida.  Kendra (played by Kerry Washington) is waiting, impatient, and emotionally drained.  Officer Paul Larkin (played by Jeremy Jordan) enters and informs her that he has no news on the whereabouts of her son Jamal, but can verify that his car was in a reported incident.  Protocol demands that she wait for the arrival of Lieutenant Stokes (played by Eugene Lee) for further information.  When Kendra’s husband, Scott (played by Steven Pasquale) shows up, Officer Larkin mistakes him for Lieutenant Stokes and proceeds to fill him in on the case.  Scott’s bureaucratic handling of the situation sends Kendra further into hysterics and generates arguments about their failed marriage and the raising of their son.  When Scott’s brother texts him a link to a video of a local police shooting, they become seriously concerned about Jamal’s well-being.

Kerry Washington & Steven Pasquale
Photo courtesy of American Son

Kerry Washington delivers a monologue in the first half of the show that exposes the deeply rooted fear her character has been unable to get her arms around since the birth of her son.  This is a powerful and truthful moment, and Ms. Washington delivers it with genuine passion.  Steven Pasquale’s response to this monologue succinctly illustrates the distance between the two characters.  It is not until there is evidence that their son could be in serious danger that his character rises to the realities of the situation and exposes his vulnerability.  The richness in Mr. Pasquale’s performance is found in the juxtaposition of his reserve and unanticipated emotional outburst.  These two actors vividly portray the unknown elements that exist between two people in a long term relationship, as well as the bond that unites them forever.   

Eugene Lee’s Lieutenant Stokes takes immediate control upon his arrival and brings a perspective to the situation that expands and deepens the truth and thematic strength of the play.  This is where playwright Christopher Demos-Brown transports the emotionally driven story into broader complexity, challenging your sense of right and wrong and presenting themes that strike the heart of every audience member.

American Son is a well written, well directed, and timely piece of theatre.  The performances are very worth seeing.  The ending is impactful and unexpected.  It is running at the Booth Theatre through January 27.  

Domenick Danza

Meteor Shower

Meteor Shower

Booth Theatre

January 6, 2018

Photo courtesy of Meteor Shower

When I purchased my ticket for Meteor Shower at the TKTS booth in Times Square, I was told Amy Schumer was out that evening.  I grabbed the ticket and saw a great performance by Kate Reinders (understudy to both female roles in the play), who I happen to have seen in Something Rotten.  Steve Martin’s script is bold, funny, and thought-provoking.  Jerry Zaks’ direction is crisp and on target.  The set, by Beowolf Boritt, and lighting, by Natasha Katz, are mesmerizing.

Corky (played by Kate Reinders) and her husband, Norman (played by Jeremy Shamos), are having a glass or pre-wine while waiting for their new friends to arrive to see the forecasted meteor shower.  Pre-wine, according to Corky, is the glass of wine you have before company comes, which does not count.  When Gerald (played by Keegan-Michael Key) and Laura (played by Laura Benanti) arrive, the meteor shower in the sky is not the only fire that ignites.

Photo courtesy of Meteor Shower

The cast of four works exceptionally well as a tight ensemble.  The relationships and humor are highly dependent on their timing, and they deliver every moment with polish and ease.   Kate Reinders and Jeremy Shamos humorously portray a committed married couple who clearly went through counseling to strengthen their relationship.  Their bond is genuine.  Keegan-Michael Key is broad and over the top as Gerald, and Laura Benanti is beguiling and riveting as Laura.  Their energies merge and their chemistry is explosive.

Photo courtesy of Meteor Shower

Steve Martin successfully structures the play with scenes that revert in time.  The action backtracks, then runs forward parallel in time to the scene previously played.  Not only does this structure challenge you to think about what you are experiencing, it also creates levels of depth to the characters and situation.  Mr. Martin ties it together at the end to make a point that is potent, clear, and relevant.  The set-up is very much like Edward Albee’s Who's Afraid of Virginia Wolf?, where two married couples tear one another apart over drinks.  The ending is not so devastating, yet it does pack a punch of hard edge reality… with a laugh.

Meteor Shower is playing at the Booth Theatre for a limited engagement.  You have until January 21.  Check it out.  

Domenick Danza

Hand to God

Hand to God

The Booth Theatre

March 20, 2015

Photo courtesy of Hand to God

Hand to God is aptly subtitled “a new American play.”  It questions the definitions of good and evil by separating them from the various grey areas in between.  A concept every American would benefit to examine and reflect upon.  Playwright Robert Askins writes with a unique, edgy wit.  The script is strikingly sobering.  The show is cunningly directed by Moritz von Stuelpnagel.  Steven Boyer is stellar as Jason.  He and the entire cast (Geneva Carr, Marc Kudisch, Michael Oberholtzer, and Sarah Stiles) serve up authentic performances that are remarkable, raw, and funny.

The first act will make you laugh and agree that yes, when the world hands you more than you can manage, put on a sock puppet, let it curse like crazy, and say the devil made you do it.  This is what the main character, Jason, does when he is overwhelmed with feelings of abandonment by the death of his father and the emotional detachment of his mother.  The second act gets real and violent and psychological as we see the depth of Jason’s despair.  The mood shifts from hysterical to disturbing.  Everyone in the audience stopped laughing (at different times) as they began to realize the level of volatility and frustration the character was embodying. 

The play was so good that I bought the refrigerator magnet… at intermission.  I usually wait until the end of the show.  This is strong seal of approval in my book, and the best $10 ever spent.  

My refrigerator Broadway show magnet collection.

Hand to God is presently in previews and officially opens April 7.  Go see this play!  It is a skillfully crafted work that uses humor to unmask truth.  A truth we all need to face.

Steven Boyer in "Hand to God"
Photo courtesy of Hand to God

A personal take away:  As a NYC Public High School teacher, certain students tend to go off (on a rant) on a regular basis with various expletives for any number of reasons.  Perhaps the next time this happens (I am thinking of one student in particular), I will picture her devilish voice coming from a sock puppet attached to her left hand.  This will allow me to 1) laugh at the absurdity of the situation, and 2) be empathetic to the level of fear and hurt that her outburst is covering.  Profound or sarcastic?  We’ll see.  I am sure I will have a chance to put this experiment into action this week.

Domenick Danza