THE HANGOVER REPORT – Tawni O’Dell’s new drama PAY THE WRITER goes through the motions and misses the mark

Bryan Batt and Ron Canada in Tawni O’Dell’s “Pay the Writer” at the Pershing Square Signature Center (photo by Jeremy Daniel).

Last night, Tawni O’Dell’s new drama Pay the Writer opened Off-Broadway. The play tells the fictitious story of a successful Black writer and his parallel relationships with his gay literary agent and estranged family (namely, his ex-wife and two adult children). The gears of the drama are set in motion when he learns that he is suffering from terminal cancer, prompting the award-winning author to come to terms with those closest to him.

On paper, the play’s premise and themes appear promising. However, in execution, the piece registers as the work of a still developing playwright, as manifested by largely unconvincing dialogue, arguably superfluous flashbacks, and scenes that are predictably stacked (the play unfolds as if it were intended for a screen treatment). As a result, any potential for character depth and meaningful nuance is squandered by telegraphed writing that’s rife with stereotypes. In summary, Pay the Writer dutifully goes through the motions but misses the mark.

Unfortunately, the production (which could have benefitted from the inclusion of an intermission) at the Pershing Square Signature Center fails to redeem O’Dell’s text. Indeed, director Karen Carpenter unimaginatively stages the play in a by-the-books manner that doesn’t do it any favors. Lastly, the cast — which is led by the recognizable trio of Ron Canada, Marcia Cross, and Bryan Batt — deliver performances that range from tentative to sturdy.

SOMEWHAT RECOMMENDED

PAY THE WRITER
Off-Broadway, Play
Pershing Square Signature Center
2 hours (without an intermission)
Through September 30

Categories: Off-Broadway, Theater

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