The Babylon Line

Richard Greenberg has penned yet another fascinating character study - this time 1960's Long Island - Levittown, specifically.  There's quite a storied history to Levittown and apparently now a few of its residents too.

The Babylon Line is a memory play - which may make some uncomfortable - especially when you get to the end and have to reflect back on what version of his memories was the true version.


A terrific ensemble cast of characters - and characters, they were indeed.  Leading the class is the New York City frustrated writer Aaron Port (Josh Radnor).  His suburban students include a trio of gossipy Jewish housewives - the indomitable Frieda Cohan (Randy Graff), slightly ditzy Anna Cantor (Maddie Corman), and struggling writer Midge Braverman (Julie Halston).  But it also includes a war-vet Jack Hassenpflug (Frank Wood) and off-beat local boy Marc Adams (Michael Oberholtzer).  Not to be left out is the out-of-place in Levittown, off-beat, Joan Dellamond (Elizabeth Reaser).

Mr. Greenberg certainly knows how to tell a story - and what a tangled web he does weave way out on the Babylon Line once a week in Levittown!  Sassy housewives, off-beat interlopers, and a writing class that was likely second choice on many of the attendees lists.  Once we get into the class the story develops and envelops you (mostly through the lighting) in to the lives, both current as past, of these delicious and mysterious characters.

It was not lost on this audience member that Mr. Greenberg slyly linked one of the housewives to another character in one of his other plays that was recently on Broadway - Our Mother's Brief Affair.  Tough, tender, interesting, a bit of Long Island history, and a generally magical evening in the theatre.  Could Mr. Greenberg nip and tuck in a few scenes, sure.  Did it matter, not very much.  What is the true story? I'll leave it up to you to decide.

Hand to God

By my calculations this is the 5th worst play I've ever seen... And I've seen a LOT of plays.  Trust me.  What makes this the 5th worst and not the 3rd worst is the fact that #1,  I stayed past intermission (i considered leaving, yes) and #2, the tremendous talent of one single cast member.

This was probably the most childish, immature, and infantile play I have seen that ever graced a Broadway stage.  It seems to appeal to the kids (the ones that have enough money to afford a ticket, that is) that like to laugh at mean jokes and cheap lines about bad situations.  Throw in plenty of "fucks" and I guess you have a Williamsburg hipster hit (until the 500 of them who can afford tickets are all cycled through anyway).

Why didn't I leave at intermission?  One simple answer - Steven Boyer.  His subtle and nuanced performance against his diametrically opposite sock puppet was outstanding.  He has not only mastered the art of puppetry, but he has mastered a 2 person dialogue all within himself!  His timing, facial expressions, puppet movement, and general skit-zo attitude on stage provided the much needed relief from the actual material of Robert Askins' awful new American play.

Were it not for Mr. Boyer, my evening would have ended after 60 minutes.  Because of him, I did get to see the other 60 and digest Mr. Askins' point of view about religion, society, good, and evil.  I get it, Mr. Atkins.  I actually don't disagree with the theory that evil and good were invented to "keep the masses in line" and that perhaps there is some truth to the idea that we were better off in some ways when we are all alone instead of bound together in society and groups. Food for thought yes.  But the material you chose to present on stage was a crude and crass way of getting your point across.