Interludes

THE HANGOVER REPORT – 59E59 Theater’s SUMMER SHORTS 2019 series varies in quality but has some potent hits

• By drediman
• August 30, 2019
• No Comments

Over the past week, I was able to take in Summer Shorts, 59E59 Theater’s annual mini-festival of six brief new plays, a couple of which have been penned by well-regarded, highly visible playwrights (e.g., Nick Payne, Neil LaBute, Sharr White). Each work, which has been allocated to one of two evening-length programs, lasts anywhere between approximately 20 to 45 minutes. Not surprisingly, the quality varied from play to play.

Robbie Tann and Libe Barer in Courtney Baron’s “Here I Lie”, an entry in 59E59 Theater’s Summer Shorts Series A. Photo by Carol Rosegg.

As a fan of the playwright Nick Payne (who is currently represented on Broadway in the moving Sea Wall starring Tom Sturridge), I eagerly approached his Summer Shorts entry, an atmospheric play about mounting anticipation entitled Interior. Disappointingly, the play turned out to be somewhat vague and inert (in some ways, Interior almost feels like the first scene of a larger play), despite a striking but unnecessarily stylized staging by Rory McGregor. Then came The Bridge Play, Danielle Trzcinski’s straightforward two-hander (simply directed by Sarah Cronk) about suicide, annoyance, and ultimately compassion. I found the self-contained, sketch-like play to be enjoyable but a bit predictable, squarely delivering on its premise – nothing more, nothing less – thanks mainly to the comically-oriented performances of James P. Rees and Christopher Dylan White. Without a doubt, the highlight of Series A (which has already ended performances) was Courtney Baron’s Here I Lie, a fascinating, potently-written play about imminent mortality, loneliness, and the human capacity to process and deal with our limitations. Of the three plays, this one felt the most satisfying as a standalone piece of playwriting, establishing Ms. Baron as a talent to watch out for. The two-character play also benefited from uncanny, quietly fearless performances by Libe Barer and Robbie Tann, as well as the beautifully controlled direction by Maria Mileaf.

Ro Boddie and Jack Mikesell in Neil LaBute’s “Appomattox”, an entry in 59E59 Theater’s Summer Shorts Series B. Photo by Carol Rosegg.

If Series B is less uneven, it’s also less adventurous. As with Series A, there is a clear winner among the lot, which would be Appomattox, Neil LaBute’s attempt at exploring the sticky subject of race relations in this country. Although Mr. LaBute’s output has been less sharp as of late (as evidenced by the playwright’s mediocre collection of short plays presented in the most recent iteration of his LaBute New Theater Festival), I’m happy to report that Appomattox – thanks in part to a fine pair of performances from Ro Boddie and Jack Mikesell and astute direction by Duane Boutté – is as dramatically engaging as it is thematically controversial (e.g., is it even worth discussing and addressing the country’s shameful racially exploitative and prejudiced past, or should we simply just move on?), and a welcome return to form by the famously provocative playwright. The other two works – both of which deal with the obstacles of marriage – are pleasant if wholly unremarkable. Sharr White’s Lucky tells the dramatic story of a young couple whose marriage suffers from the husband’s post-war PTSD. The second, Providence by Nancy Bleemer, is a comedic take on the existential questions that underlie married life. Both works gently question the institution of marriage, pointing out that the arrangement is very much a case of the blind leading the blind. Additionally, both plays are acted and directed satisfactorily if (again) unremarkably.

RECOMMENDED

SUMMER SHORTS: SERIES A & B
Off-Broadway, Play
59E59 Theaters
Each program is approximately 1 hour, 30 minutes (without an intermission)
Through August 31