Cost of Living

B+

After a successful run at the Williamstown Theatre Festival last summer, Martyna Majok’s (Ironbound) powerful four-character drama has arrived at Manhattan Theatre Club’s Stage I at City Center. The lead character, Eddie (Victor Williams, Luck of the Irish), begins the play with a well-written and well-performed 10-minute monologue that reveals that he is a long-distance truck driver who recently lost his wife. Next we meet Jess (Jolly Abraham, Coram Boy), an attractive woman in her twenties who is applying for a job as helper to John (Gregg Mogzala), a Harvard-educated grad student with cerebral palsy who is confined to a wheelchair. Jess works as a barmaid and needs the extra income. In a flashback, we meet Eddie’s wife Ani (Katy Sullivan) who lost her legs in an accident and is a bundle of rage. Two of the play’s most moving scenes take place in bathrooms where we see Jess shaving and showering John and Eddie giving a bath (and possibly more) to Ani. The play's strengths include  not portraying the disabled characters simplistically and in giving equal time to the needs of their caregivers. Each character is vividly sketched to the point that I wished I knew more about them. Until the final scene, each character interacts with only one other character. In that scene a new heartbreaking connection is made. I wish the author had omitted a brief manipulative reversal at the very end. The entire production is first rate: the acting, the revolving set by Wilson Chin (Aubergine, My Mañana Comes), the character-appropriate costumes by Jessica Pabst (The Ruins of Civilization) and the smooth direction by Jo Bonney (By the Way, Meet Vera Stark). I read that the author expanded this work from a two-character play and the opening monologue. The combination was not totally successful; some of the stitches show. Nevertheless, seeing it is a worthwhile, if painful, experience. Running time: one hour 45 minutes, no intermission.

By the Water ***

This new family drama with comic overtones, the first product of a collaboration between Manhattan Theater Club and Ars Nova at The Studio at Stage II at City Center, bodes well for their cooperative effort. Playwright Sharon Rothstein depicts the devastating effects of Superstorm Sandy on the Murphy family of Staten Island. Not only has the storm extensively damaged their home and neighborhood, it has uncovered long-standing family tensions and secrets. Marty (Vyto Ruginis) and Mary Murphy (the wonderful Deirdre O’Connell) seem determined to repair and remain in their home. The Murphys’ older son Sal (Quincy Dunn-Baker), who has married and made a successful life for himself in Manhattan, makes a rare appearance to persuade his parents to sell. Their younger son Brian (Tom Pelphrey), a recovering addict recently out of jail, also turns up, but he supports his father’s wishes. There is bad blood between the brothers. We learn that Marty is no saint either — he barely escaped jail for tax evasion and lost the family business. Their long-time neighbors Philip (Ethan Phillips) and Andrea Carter (Charlotte Maier), whose home has been destroyed, want to take a government buyout and relocate. Marty’s campaign to prevent the buyout plan from reaching the necessary 80% consensus puts a strain on their friendship. When it turns out that Marty’s determination to stay put has reasons that are far from noble, even Mary’s relationship with him is shaken. If all that were not enough plot, there is a rekindling of feelings between Brian and the Carters’ divorced daughter Emily (Cassie Beck). What holds it all together is Rothstein’s skill in creating vivid, believable, complex characters and convincing dialogue. Wilson Chin’s set makes the devastation very real and Jessica Pabst’s costumes reflect their characters well. Director Hal Brooks elicits fine work from a strong cast. Running time: 95 minutes, no intermission. 

My Mañana Comes ****

I had not previously heard of The Playwrights Realm, a theater company “dedicated to serving early-career playwrights” that offers a year-long residency culminating in a full-scale off-Broadway production. On the basis of Elizabeth Irwin’s new play at the Peter Jay Sharp Theater until September 20, I would say they have a sharp eye for talent and a commitment to high production values. Irwin’s workplace drama with comedic overtones presents a vivid slice-of-life about four busboys in an Upper East Side restaurant. Peter (Jason Bowen), a black man with a child, is the senior among them and the only one who takes professional pride in his work. Two busboys are undocumented Mexican immigrants; frugal Jorge (José Joaquin Pérez) left wife and children behind almost four years ago to earn enough money to build them a new home. Spendthrift Pepe (Reza Salazar) is a recently arrived young man who dreams of saving enough to bring his younger brother to New York. The junior busboy Whalid (Brian Quijada), a second-generation Hispanic who lives with his parents and has vague dreams of getting a civil service job, teases Jorge and Pepe mercilessly. We follow the four through their daily rounds at work and learn what pressures in the outside world make their lives difficult. A crisis at work puts each of them to a test of solidarity. I do not generally like the use of monologues, but Irwin has skillfully incorporated them here. The actors are all very good, particularly Bowen and Pérez. Chay Yew’s direction is seamless. The set design by Wilson Chin is worth arriving a few minutes early just to admire; he captures the details of a working kitchen right down to the scrapes on the walls. Moria Sine Clinton’s costumes are excellent. The play illustrates the personal dimension of large social issues, including immigration policy, race relations, exploitation of the vulnerable, the corrosive effects of poverty. Irwin shows a lot of talent and I look forward to seeing what she does next. Running time 1 hour 40 minutes; no intermission.

NOTE: The Peter Jay Sharp Theater (the smaller upstairs theater at Playwrights Horizons) has less than ideal seating. The seats are directly behind each other rather than staggered and have no padding on the seat backs. If you have back problems, bring a cushion.

QUESTION: Why would a character who is identified as Hispanic be named Whalid, a name I have always thought was of Arabic origin? Ideas, anyone?

Too Much, Too Much, Too Many ***

(Please click on the title to see the complete review.)
Meghan Kennedy's new work is the latest offering at Roundabout Underground's Black Box Theatre, their "launching pad for emergent playwrights." In 22 short, concentrated scenes, Kennedy depicts some of the ways people deal with grief and loss. The four characters are Emma (Rebecca Henderson), a depressed 39-year-old single woman who has lost her father James (James Rebhorn) to Alzheimer's, her grieving mother Rose (Phyllis Somerville) who has locked herself in her room for almost a year, and the enigmatic Pastor Hidge (Luke Kirby) who has been sent by the local church to offer comfort. The actors rise to the challenge of performing with people they cannot see because of an intervening door. It's a pleasure to see two old pros like Rebhorn (Homeland) and Somerville (The Big C) onstage. Rebhorn's portrayal of the descent into dementia is heartbreaking. The younger actors are also fine and the production is first-rate. The set by Wilson Chin looks wonderfully lived in. Jess Goldstein's costumes, Zach Blane's lighting design and the sound design by Broken Chord all greatly enhance the production. Sheryl Kaller's direction is sure and steady. Despite some misgivings about the script, I found the play worthwhile. I do wish they had found a more appealing title though! Running time: 70 minutes, no intermission.