Written by James Haigney, Neal Labute & Carter Lewis
Directed by John Pierson
Always worth a look, LABUTE NEW THEATER FESTIVAL varies from year to year in length and tone. This year’s edition is, in the best sense of the word, leaner than in previous years. The energy seldom lags, and all three cherry-picked one acts are provocative, timely and adroitly crafted.
The plot of Neil LaBute’s HATE CRIME unfolds like a James M. Cain novel. Man 2 (Chauncy Thomas) paces in his luxury hotel room, watching, appropriately enough, a documentary about alpha male animals in the wild. He is joined by likeable Man 1(Spencer Sickmann), his devoted lover who brings coffee, Danish pastries and smiles. Man 2 is understandably anxious. He wants to make sure the scheme the two of them are hatching goes off without a hitch. Here’s how it works: Man 2 is going to marry a wealthy older man. Right after the wedding, Man 2 will murder the old guy and make it look like a gay bashing incident. He and Man 1 will then live happily ever after on the dead man’s life insurance. As the two conspirators rehearse the plan, they begin to reveal symptoms of the nagging self-contempt – exacerbated by society’s biases- that leads to aberrant behavior. The play feels like Scene One of a larger story, and it would be interesting to where this 21st Century Double Indemnity would go if it were expanded to a full-length piece. As it is, we’re left with a cliff hanger. But, as always, LaBute’s mordant writing is well served by the short form. The dynamic between coolly predatory leader and eager protégé is expertly mined for both laughs and chills by Thomas and Sickmann.
In WINTER BREAK, by James Haigney, religious conversion divides an American family. Christened Joanna, a high-achieving college student (Kelly Schaschl) now insists on being called Aisha. Having adopted Sufism as her guiding influence in life, she wears a head scarf and is planning a trip to Turkey to study the Koran. Aisha’s Episcopalian mom Kitty (Autumn Dornfeld) is worried she’ll throw away her education. Her brother Bailey (Sickmann), takes a more extreme view, going as far as calling Aisha’s Facebook friends “sadistic, Nazi, anti-Semitic, homophobic delusional fanatics.” Aisha argues back, pointing out that life in the status-driven west is largely devoid of real meaning and that the “freedoms” most Americans enjoy amount to little more than empty self-indulgence. The real agenda behind the conflict is, of course, as personal as it is ideological; Aisha’s need for a sense of self is as strong as Kitty and Bailey’s fear of losing her. The action stalls somewhat as the hysterical Bailey and exasperated Aisha hit the same emotional notes too many times. When it’s cooking, though, Haigney’s intelligent script shows remarkable insight and compassion in its even-handed treatment of both sides of the debate.
The most innovative entry of the evening is Carter W. Lewis’s PERCENTAGE AMERICA,
which ruthlessly skewers a host of contemporary phenomena from online dating to presidential tweets. After meeting though a matchmaking website, Arial (Dornfeld) and Andrew (Thomas) discover they have a lot in common: Both have posted horribly misleading information on their profiles. The smart thing to do would be to call the whole thing off. Yet, once the pretense is dropped, both parties feel an exhilarating sense of relief. Honesty, they learn, can be a potent aphrodisiac. This discovery leads Arial to suggest that she and Andrew experiment with what she considers a kinky activity: deciphering the evening news. Amid all the hype, there has to be some truth, provided one is brave enough to look for it. The top story the news outlets concerns a preadolescent girl (Schaschl) who has broken into the White House rose garden and seemingly berated the president using obscene language. Dubbed variously “The Whore in The Garden”, “The Rose Garden Terrorist” and host of other epithets, the young girl becomes the object of rampant speculation. Like a modern-day Woodward and Bernstein, dig through the dirt, consult clandestine sources build their own narrative – and discover that the truth is not for the faint of heart. Lewis’s razor-sharp satire comes to life as Dornfeld and Thomas throw themselves into their roles with farcical zeal. Schachl balances their antics with arresting vulnerability as the story speeds to its dark, and unexpectedly touching, conclusion.
LABUTE NEW THEATER FESTIVAL continues through February 4, 2018 at 59E59Theaters, 59 East 59th Street, between Madison & Park Avenues, New York, New York. Tickets: http://www.59e59.org/index.php