Rapture, Blister, Burn

Eh.

Assistance

Playwright Leslye Headland is likely good at a minimum of four things:  grammar, being an assistant, reading people, and writing plays.  Each of these traits is quite obvious from a brief, yet incredibly entertaining evening at Playwrights Horizons to take in a performance of Assistance.

Six mixed-up, shook-up, wired-up, young assistants get messed-up, chewed-up and spit-out by an un-seen, un-heard un-relenting, un-kind, president of the company.   Mr. David Weisgert, whom we never actually see or hear, is indolent, un-reasonable, demanding, and over-the-top, and drives these assistants – both literally and figuratively – crazy.

The goal in the office seems to be to get in (that’s hard) and get out  - “across the hall” as fast as you can (even harder).  Part dig on corporate America, part study of what drives people to crave these maddening jobs, and mostly just an hysterical, all-too-familiar composite of some bosses we once knew and truly hated.

Nick (Michael Esper) and Nora (Virginia Kull) work out their issues through flirting and eventually sex (in the office).  Jenny (Sue Jean Kim) gets cut while she’s still an intern, Vince (Lucas Near-Verbugghe), a bit of a creep, is the first to “make it out”.  Jenny (Amy Rosoff) brings her ice-cool British-game to the office and Justin, a.k.a Bird (Bobby Steggert) puts in his time on the road with the boss as his personal assistant, suffers the battle scars to prove it, and eventually “makes it” into the office too.  One by one they rise… and fall.

The dialogue is quick, the banter, believable and the non-stop telephone-ballet, quite impressive.  I’m not saying that any of these talented actors should ever be unemployed and working the phones – but either many of them have indeed suffered the pains of an office assistant job, or they are quick studies not only into the art, but also the emotional intensity.  Either that, or director Trip Cullman is one hell of a teacher.  

Maybe it’s a little bit of all that - so tightly wound and ready to explode each night - that makes Assistance an 80-minute romp on West 42^nd Street each and every night.

Man and Boy

Ironic that just two days ago I saw a another off-Broadway play in which a wealthy wall-street type was driven to self-destruction.  The plot was certainly a different time and place but essentially a similar tale.  Man and Boy is one of playwright, Terence Rattigan's, early successes in the 1960's and rings as true, if not more-so, today.

Taking the helm at the American Airlines Theatre in the Roundabout Theater Company's revival is the consummate, Tony award winning actor, Frank Langella (Gregor Antonescu - i.e. "man").  Adeptly supporting him is the always dashing and polished Adam Driver (Basil Anthony - i.e. "boy").   Supporting ensemble cast members include Michael Siberry (Sven Johnson), Virginia Kull (Carol Penn), Zach Grenier (Mark Herries), Brian Hutchinson (David Beeston), and Francesca Faridany (Countess Antonescu).

The plot follows an approximately continuous 2 hour timeline in the Autumn of 1934 in the basement apartment in Greenwich Village of Basil Anthony, whom we quickly come to learn is the estranged son of international financier and power broker Greor Antonescu .  We quickly come to learn why Basil has fled his family 5 years ago and through a series of cold and calculated maneuvers, why his brilliant and domineering father may just be the world's most callus and wanted financial crook the world has ever seen.

Mr. Langella commands the stage with every breath and step.  Mr. Driver embodies the ethos of a 1930's young American socialist while at the same time cannot make the emotional break from his dirty dealing father.  The entire cast brilliantly supports the two leads.  Of special note is the comedic relief provided by the accountant, David Beetson (Mr. Hutchinson) and the steadfast dedication Sven Johnson (Mr. Siberry), personal assistant to Mr. Antonescu.

Man and Boy may take place during the 1930's depression era but is as relevant today as it ever was.  With the recent echos of Enron and Bernard Madoff not far behind us - this play hits as close, if not closer to home, in these currently difficult global and economic times.

Dividing the Estate

Horton Foote is a prolific, award winning playwright.  He's turned out an entertaining work for Lincoln Center Theatre in Dividing the Estate - but for all it's lofty aspirations, my dear Horton, it's no August: Osage County.   Not even close.  

The premise is quite common - children squabbling over how to divide the estate of their parents.  You find a little bit of everything and not enough of anything in the Gordon family - jealousy, envy, and sacrifice to name a few.   One matriarch (Elizabeth Ashley), two quite different daughters  - one married (Hallie Foote) , one widow (Penny Fuller) - one eldest son who is possibly a pedophile (Gerald McRaney) - an oddly nerdy nephew who runs the estate (Devon Abner), a bankrupt son-in-law (James DeMarse) and two spoiled nieces (Jenny Dare Paulin and Nicole Lowrance)- three black servants - two old (Arthur French and Pat Bowie) and one young (Keiana Richard) round out the cast.  

Perhaps the best element of this production was the magnificant set - dripping with detail, color and comfort - it consumed every inch of the viewable stage and really made it seem like we were peering in on a grand Texas estate.    As for the rest of the show - it had its moments, but overall, it underwhelmed me.   Elizabeth Ashley aptly held court while on stage - but the supporting cast wasn't able to do the same.  Oddly, Act I seemed more interesting than Act II and I found myself wondering if anything more was going to happen of interest as we inched toward the finale.  

The entire premise drags on and on - how to divide the estate... should they divide the estate... if they do divide the estate who gets what portion and when will they get their share... when it ultimately comes that they will divide the estate... more complications arise.   

Will this entire dysfunctional family have to live together under one roof?   Visit the  Booth Theatre and find out.