Lonely, I'm Not

You'll certainly not be lonely in the cozy Theatre @ 43rd Street watching Paul Weitz' world premier comedy at Second Stage but you may be tad bored after about an hour or so.  The strikingly sparse and modern sets/projections by Mark Wendland and Aaron Rhyne are impeccably lit by Matt Frey.  A plethora of neon - or at least neon-looking LED illuminated - signs placed all over the back of the set abound - signaling not only the next scene but usually the irony or humor to be presented in said scene.  Direction by Trip Cullman is crisp and clean but the pace needs more punch.  A+ on the technicals with some work in the general energy-level department needed.

But what's it about?  Not a great deal of plot complexity here.  Pretty simple actually.  Porter (Topher Grace) was a successful guy.  Nervous breakdown.  Geeky cute.  Recovering.  Neurotic.  Heather (Olivia Thirlby) is an overachieving, successful blind woman.  Takes liking to nervous breakdown geeky cute guy.   Sidekicks, acquaintances, and other multiple characters played with aplomb by 4 additional actors (Mark Blum, Lisa Emery, Christopher Jackson, Maureen Sebastian).  All good.  Strike that.  Very good.   My only complaint is that after about 60 minutes, you're ready for the punch line and it doesn't come for another 30.  Best scene in the play - Job Interview.

William Shakespeare's advice still stands.  Brevity is [still] the soul of wit.

Farragut North

Where did Beau Willimon get his inspiration and "inside info" when writing this play?  I learned after I returned home from the theatre from Roma Tore's NY1 Review that Mr. Willimon worked on the Howard Dean Presidential campaign.  The entire work now makes even more sense.

We've certainly been inundated for the past 18 months with political campaign foder.  Sadly it almost seems an empty day if we are not bombarded with some scandal, accusation, some grist from the proverbial political mill.  

Nor does it go unnoticed by this viewer that this show cleverly didn't run much past election day at the Atlantic Theatre.   We've really had enough.   But it's never quite enough until Broadway has taken it's shots too.   And what a bulls-eye this one turns out to be.  Now - this is not the dream cast (Leo DiCapprio and George Clooney) rumored last year to be doing a Broadway-bound version - but it's damn good nonetheless.   John Gallagher Jr. (Spring Awakening, Rabbit Hole) takes on the role of Stephen, the young, ambitious, cocky, rising star in the political campaign communications world (of course he's damn sexy doing it too).   Chris Noth (Sex and the City, Law and Order) tackles the role of Paul, the elder, more experienced and seasoned campaign advisor.  

The dialogue is sharp.  Kudos to director, Doug Hughes.  The humor, well placed and the acerbic and emotionally charged dialogue well delivered.  The plot, twisted and entirely (unfortunately) believable as one would expect.  The "gun" in act one gets used as one might expect.  No spoilers here.  

Possibly the most disappointing aspect of this show is the unfortunate familiarity with the subject matter that the audience brings to its seats.  Shock? Not a chance.  But I'm virtually positive that is not what the production was shooting for.  Cynicism, more likely. 

Strangely enough, at the end of the show, the "next generation" gets his first shot in front of the press and cameras (flash-flash-flash).  He reads a brief statement then looks up, as if to say "that was the script - now I'm going to tell you what it's really all about".  He looks us straight in the eye with that sincere, "we're going to change the world" face and tells the press (that's us) that the "people" is what the campaign is all about - it's the reason the candidate is running and that he will lead us into a new era.  The audience applauded exuberantly.  Hmmm... Fade to black.