WOLVES a Must See!

I haven’t left a theatre feeling entirely great in the past year. There have always been one or two major things that just bug me, sometimes a not so great script, sometimes an actor who should never have left drama school, sometimes a director who has gotten too conceptual and lost focus of the play. Whatever the case, full length modern drama has failed to impress me as of late, until seeing Kids with Guns production of Delaney Britt Brewers’ WOLVES at 59E59 Theaters.

WOLVES is a play within modern suburbia, and while a lesser skilled writer would turn this into a kitchen sink drama, Brewer has created a piece that glows and lifts off the page into an amazing world. Sets and lighting by Maruti Evans beautifully lend themselves towards the audiences’ imagination.

The physical specificity of the world and varying locations is so sharp and evocative, even with the minimal set dressings and stage pictures, I was fully engaged in the various locations as if they were really in front of me.

Josh Tyson and Elizabeth A. Davis work remarkably well together as their characters enter their three year period together. Tense and cautionary (yet with that suburban relaxed overlay) they are countered and balanced by Richard Saudek and Sarah Baskin, the hilarious and yet sad clown couple of the evening. One laughs most at the sad clown, but they work hard to keep you looking at the balloon in their hand and not at the tears streaming down their faces. Tyson, Davis, Saudek and Baskin make a wonderful quartet together and their scenes literally flow like music.

Megan Tusing, as the wrench in Tyson and Davis’ relationship, does a great job playing a heightened state and making it believable.

The scenes between Megan Hart and Doug Roalnd, as the sister and brother coping with their mothers death, are very touching and familiar. Some of the most heartfelt material of the evening and yet hysterically funny while still tragic. Brewer has mastered writing for the sad clown hero, and seems to like setting up opportunities for several of them to meet. Julie Fitzpatrick gives a star performance in the second and third acts with a massive character shift in between the two acts. Run to see her work, which resembles play.

A performance highlight was the onstage relationship between actors Elizabeth A. Davis and Sarah Baskin, who play old college friends. The two cultivate such a wonderful bond together, that you can at once see two old friends who have grown apart, trying to rekindle a friendship with shorthand tricks that worked in their college years, yet, neither really invested in a positive or negative outcome. In short, they’ve managed to completely encapsulate the suburban way of life in a single relationship and series of exchanges. Two extremely grounded, honest and active performances from two very talented actresses.

While the men are great in the piece, the women are absolutely incredible. If you have read this far and haven’t already booked your tickets to WOLVES, punish yourself and order now.

Running now through August 21st. Tickets over the phone at 212.279.4200 or online at 59e59.org.

Brit Bits 7:

The British are wonderful. We have many reasons to thank them, and Brit Bits 7 is one such reason.

A collection of 8 ten minute-(ish) plays "by, for or about the British", the production flew by before I knew it, and I wanted more. So in honor of the 8 playlets of the evening, I will provide 8 reviewlets (really? reviewlets? oh, well, I already typed it.)

The 3 Graces by Richard Manton-Hollis and directed by Paul D'Alessandris is based around a painting by Raphael, but in statue form. The three sisters played by Sarah Manton, Anna Frankl-Duval and Ruthie Stephens are wonderful, and god love them for staying in the same position for a full ten minutes and not so much as drop their arms an inch! Crisp, clear writing, simple staging and clear analysis of the text and three actresses rocking the art world by storm.

Small Favors by Bronwen Denton-Davis and directed by Stephanie Staes features Peter Cormican and Simon Pearl as a father and son devilishly trying to come to terms with life's end and unfinnished business. Although a little hard to hear all of the dialogue (this was a problem in several pieces, especially in such an intimate setting) the back and forth sparring between the two really sparks towards the end, and what you think will be a formulaic ending actually surprises and you see that the cat and mouse were merely moving the furniture out of the way before the big chase.

Icarus by Sam Peter Jackson and directed by Stephanie Staes is an enigma in the best sense of the word. Cailin McDonald and Frances Uku play two friends arguing about compliment protocol. Very witty, cleverly staged, my favorite actresses of the night, but which one plays Icarus? Or how does Icarus come into the story, if he does at all? Who flys too close the sun; is it the friend who doesn't give compliments freely, who soars to new heights by not listening to the adivice given her, or is it the friend expecting a compliment in return, taking for granted what the other person wants, to get their own way? Someone may have melting wings here, though maybe instead of the actors, it's the audience, charged with the responsibility not to fly too high to figure it out this quandry, but to accept and let it happen and see what develops. A fascinating and very funny performance!

Another Day in Paradise written and directed by Camilla Maxwell has one of the funniest scenes in the evening. Two travellers, played by Anna Frankl-Duval and Adriana Llabres, a la Lucy and Ethyl or Laverne and Shirley, have the worst sunburns you've ever seen. Hilarity ensues. Seriously, this is one of the best pieces.

Unmanned however didn't live up to everything else on stage. While Laura Stevens story seemed viable, the staging and pace of the piece seemed off and mildly stagnent. Directed by Paula D'Allessandris and featuring Lain Gray and Hannah Scott. One thing I will say, the actors did find a very nice, very truthful place and they had some really tender moments.

The Pilot by Chris Thorpe also directed by Paula D'Allessandris fared much better. Mia Moreland and Daniel Damiano were wonderfully cast in this mistaken plot comedy. Very simple staging, although Ms. D'Allesandris could have faced Mr. Thorpe a little more towards the rest of the audience, he was set facing pretty much away from the audience, while Ms. Moreland was clearly seen by everyone. In any case, he very much holds his own and both react against each other with perfect comic timing and absolute seriousness.

Bazelgate & Croxen written by Brian Pracht and directed once again by Stephanie Staes, was one of the most physically active of the pieces and certainly one of the shortest. Adam Jonas Segaller and Martin Ewens is a mix of farce and sketch comedy. The pace was quick, the delivery pitch perfect, and I don't think it could have been acted any better by any other actors.

My favorite piece of the night was the last, The Gesture by Paula D'Alessandris and directed by Camilla Maxwell featured Stuart Williams as the boyfriend who just doesn't know what girlfriend Emma Gordon needs out of the relationship. The story is a bit predictable but hilariously so, but so well directed and acted that everything about the story is enhanced and multiplied. And without giving too much away, honestly the funniest thing I have ever seen done with an ear in my life. Ms. Gordon's demanding shrill insistance perfectly sets Mr. Williams up for amazing comic reactions that every man in the audience can relate to, and both do remarkable work in the piece.

So there we have it! 8 reviewsicals, and one brilliant collection of short plays. Mind the Gaps production of Brit Bits 7 plays at the Manhattan Theatre Source now through June 18th. For tickets go to https://www.ovationtix.com/trs/pr/729955