Belleville ***

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I have extremely mixed feelings concerning Amy Herzog's thriller about the unraveling of a codependent relationship. On the one hand, the production values of this New York Theatre Workshop production are superb -- the acting (by Maria Dizza and Greg Keller as the couple and Pascale Armand and Phillip James Brannon as the landlords of their Parisian flat), direction (by Anne Kauffman), set design (by Julia C. Lee), costumes (by Mark Nagle) and sound design (by Robert Kaplowitz). As in her previous work, Herzog excels at creating vivid characters and capturing the twisted patterns of communications in close relationships. Also admirable is the way she builds a feeling of menace and paranoia. On the other hand, I found the big reveal about what underlies the current situation disconcertingly implausible and the denouement (annoyingly in French) unnecessary. Although Annie Baker seems to be the current darling of the lemming critics, I'll stick with Amy Herzog even at less than her best. Running time: one hour, 40 minutes; no intermission.

The Great God Pan ***

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Amy Herzog's new play now in previews at Playwrights Horizons is never less than interesting, but does not provide the same level of satisfaction her previous play, 4000 Miles, did, at least not for me. If I had to state the theme, I would say it is the vicissitude of childhood memories, e.g. what is remembered, what is buried, what is simply forgotten, what is perceived as memory but was acquired from others, how memories of the same event differ. The high cost of being emotionally withholding is another issue. The seven vivid characters Herzog has created are superbly portrayed by a uniformly strong cast. Jamie (Jeremy Strong) is a 32-year-old freelance writer who struggles to piece together a living. Paige (Sarah Goldberg), his girlfriend of 6 years, is a former dancer whose career was ended abruptly by an injury, and is now studying to be a nutritional counselor. At the very moment when their relationship is in a severe crisis, Jamie is upset by a visit from Frank (Keith Nobbs), a former playmate whom he hasn't seen in 25 years, who has filed charges against his father for abusing him as a child. Frank's suggestion that Jamie might also have been a victim upsets Jamie's equilibrium. His conversations with his parents Cathy (Becky Ann Baker) and Doug (Peter Friedman) are far from comforting. His visit to his now senile former babysitter Polly (Joyce van Patten) does not provide answers. The remaining character, Joelle (Erin Wilhelmi), is a bulimic patient of Paige's. I suppose Paige's relationship with Joelle is intended to mirror her relationship with Jamie, but I did not feel their two scenes together were an integral part of the play. A final scene between Frank and Jamie ends the play on an ambiguous note. Carolyn Cantor's direction is assured. Mark Wendland's set of a forest glade with panels that pop out to form benches and tables is lovely, but distracting. Kaye Voyce's costumes serve the characters well. Running time: 90 minutes without intermission.

Question: Are there any American playwrights left out there who can write a two-act play?

Theater Recommendation: 4000 Miles ****

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Amy Herzog's play received universal acclaim during its brief run at the Duke last summer. It will be moving into the Mitzi Newhouse Theater at Lincoln Center in mid-March with the original cast for a limited run. If you missed it the first time, be ready to order tickets as soon as they go on sale -- February 6 for LCT members, February 12 for the general public.

Here is my review from last June:

The title of this new play by Amy Herzog, in an LCT3 production at the Duke, refers to the distance 21-year-old Leo (a strong Gabriel Ebert) has traveled on a cross-country bicycle ride that ends with his unexpected 3 a.m. arrival at the West Village apartment of his 91-year-old grandmother Vera Joseph (the incomparable Mary Louise Wilson). [The character of Vera, a devoted Marxist, also appeared in Herzog's recent well-received play After the Revolution]. Leo has been traumatized by the death of his best friend en route, a less-than-enthusiastic reception by his girlfriend Bec (Zoe Winters), a student at Columbia, and family problems back home in St. Paul. Grandmother and hippie grandson gradually overcome their differences and grow close. Greta Lee is hilarious as Amanda, a Parsons student Leo brings home one night. The characters are vivid, the dialogue is believable and the back story is interestingly complex. One can quibble over a few plot devices, but Herzog is clearly a talented playwright. The set by Lauren Helpern perfectly captures a slightly worn apartment that hasn't changed much in 50 years. Daniel Aukin's direction in unobtrusively fine. 

4000 Miles ***

The title of this new play by Amy Herzog, in an LCT3 production at the Duke, refers to the distance 21-year-old Leo (a strong Gabriel Ebert) has traveled on a cross-country bicycle ride that ends with his unexpected 3 a.m. arrival at the West Village apartment of his 91-year-old grandmother Vera Joseph (the incomparable Mary Louise Wilson). [The character of Vera, a devoted Marxist, also appeared in Herzog's recent well-received play After the Revolution]. Leo has been traumatized by the death of his best friend en route, a less-than-enthusiastic reception by his girlfriend Bec (Zoe Winters), a student at Columbia, and family problems back home in St. Paul. Grandmother and hippie grandson gradually overcome their differences and grow close. Greta Lee is hilarious as Amanda, a Parsons student Leo brings home one night. The characters are vivid, the dialogue is believable and the back story is interestingly complex. One can quibble over a few plot devices, but Herzog is clearly a talented playwright. The set by Lauren Helpern perfectly captures a slightly worn apartment that hasn't changed much in 50 years. Daniel Aukin's direction in unobtrusively fine. At $20, the play is a great bargain. See it before its short run is over.
Note: If you haven't been able to get tickets, don't despair -- LCT will reopen it at the Newhouse next March).