Appropriate: Family Battle is a Must—Theatre

“Appropriate,” the Woolly Mammoth Theatre Company‘s latest offering, written by Branden Jacobs-Jenkins and directed by Liesl Tommy, is a gripping drama sprinkled with very dark, pointed humor throughout. One thing is certain—after watching the play’s Lafayette family rip one another apart, “Appropriate” certainly made me feel better about my parents, siblings and our relationships.

Often family secrets, slights and hurts come out into the open at funerals or readings of a loved one’s will. Such is the case of the Lafayette family. They’ve come from New York, DC and Oregon to Arkansas to clean up their late father’s home so it can be auctioned off. A chance retrieval of a never-before-seen photo album full of horrific photos is the spark that lights the fuse, as the Lafayette family explodes before our very eyes.

“Appropriate” will make you feel uncomfortable at times because the battles between siblings and significant others are so intense. Sometimes you’ll feel like a child caught between two unhappily married parents. Other times viewing the play is like being a fly on the wall, but unlike the insect, you can’t just fly from the uncomfortable situation.

But in truth, you won’t want to flee, because, as usual, the Woolly Mammoth Theatre Company has brought together a terrific cast of actors. Deborah Hazlett, as Toni, the oldest sibling, is a force of nature. Toni spent many years taking care of their father along with her own family, and has a huge chip on her shoulder for so doing. Hazlett is the embodiment of years of simmering frustration, resentment and anger which finally boil over.  David Bishins is very good as the middle sibling, Bo, who has kept his distance and as a result, at first blush, seems to have raised a normal family. Beth Hylton as Bo’s wife, Rachael, gives a powerful performance as woman with her own deep-seated family resentments. Finally, Tim Getman is terrific as the youngest Lafayette sibling, Frank, who went off to Oregon to get away from his troubled youth. The supporting cast is also exceptional—Caitlin McColl as River Rayner, Frank’s much younger girlfriend; Josh Adams as Rhys, Toni’s son who’ll soon be going off to live with his father; and most especially, Maya Brettell as Cassie, Bo and Rachael’s 13-year-old daughter.  She is fabulous as the teenager with the heart of an old soul.

Once again, Woolly’s sets are amazing and for “Appropriate” are designed by Clint Ramos, a newcomer to the Company. What he’s done to create chaos in the home is phenomenal.

Branden Jacobs-Jenkins has written a powerful play with many memorable lines of dialogue that will stay with you, long after you’ve left  the Woolly. If you love theatre, you owe it to yourself to pay the Lafayettes a visit. Just stay out of the line of fire.

Runs through December 1.

Woolly Mammoth Theatre Company, 641 D Street, NW, Washington, DC 20004

3 ½ nuggets out of 4

Mrs. Warren’s Profession—Theatre

The Shakespeare Theatre Company closes out its season with a winner, George Bernard Shaw’s Mrs. Warren’s Profession.

Part Mildred Pierce, part Best Little Whorehouse in Texas, Mrs. Warren’s Profession looks at morality through two conflicting points of views, those of mother and daughter.  The daughter, Vivie Warren, looks at life in terms of black and white, with no margin for compromise, while her mother, Mrs. Warren, sees life with room for large grey areas. Mrs. Warren’s “profession” has allowed her daughter to live a very comfortable, educated life–enabling her to live her life to her fullest potential. It’s unfortunate that the education and life experience her mother has made possible, makes Vivie so dogmatic and unyielding in her views. Therein lays the conflict and ultimate heartbreak.

Director Keith Baxter has assembled an excellent cast. Front and center is Elizabeth Ashley as Mrs. Warren. Although her voice is a tad raspier than her normal smoky voice, Ashley’s ability to use her voice gives her unfair advantage to any other actress who might assume the role. Amanda Quaid provide Vivie with just the right touch of vulnerability coupled with the certainty that comes with youth. All four male leads—Ted van Griethuysen as Mr. Praed, the architect, Tony Roach as Frank Gardner, Vivie’s friend and possibly more, Andrew Boyer as Sir George Crofts, Mrs. Warren’s business partner and David Sabin as Frank’s father and vicar of the local church as well as long-ago “friend” of Mrs. Warren—bring their “A” game to the Sidney Harmon Hall. Roach and van Griethuysen are especially good as confidante’s—both young and old—to Vivie.

I saw the play in previews, during which the cast performed under extraordinarily difficult circumstances. The play calls for an intricate lighting system, which unfortunately failed. The cast was asked to perform with the house lights turned on for the entire play, breaking the barrier between audience and actors. That they more than rose to the occasion underscores the amount of talent on stage. Unfortunately for the audience, I’m guessing the lighting would have added to the dramatic effect and enjoyment of the play. However, the audience is treated to an absolutely gorgeous set. One can practically smell the countryside.

Director Baxter’s interpretation of Mrs. Warren’s Profession adds musical hall numbers to the play. Although well sung and performed, they really add nothing to the overall play and are, in fact, a distraction and a director’s conceit.

All in all Mrs. Warren’s Profession is very well done and should be seen just to take advantage of a terrific cast working at such a high standard, with or without lighting.

Shakespeare Theatre Company / Harman Center for the Arts

 Sidney Harman Hall 610 F Street NW, Washington, DC 20004

The Last Cargo Cult—Theatre

Imagine settling down in one’s seat in a darkened theatre and listening to the rants of a comedic Orson Welles. Such was my experience at Mike Daisey’s,The Last Cargo Cult, at the Woolly Mammoth Theatre. Mike Daisey, creator and performer, is pure genius…bitingly funny, actor extraordinaire…without ever getting out of his chair…and did I say, bitingly funny? Oh, I did. But I can’t say it enough. (And he does bear a strong resemblance to Orson Welles in stature and performance.)

Daisey comes to the set, which is wonderfully decorated in all kinds shipping packages, dressed in black pants and shirt, shoes and socks. He seats his short, heavy-set body behind a desk which with notes in hand (to which he never refers) and a glass of water. He’s yet to speak and he’s already sweating. He puts his notes on the desk and takes out his black handkerchief to mop his face (it’s his only other prop) and the storytelling begins.

Last Cargo Cult is about the power of money…about its raw power…about its liquid power. Daisey starts with the idea that “culture is built around awesome shit” and it’s all downhill from there. So begins our strange tour, accompanying him from Maine to college…to NYC…to the Hamptons…to the South Pacific.

Daisey is mad, angry and concerned about the future. And if we weren’t before, we are, too, by the time we leave the theatre.

Because his show is unscripted, it’s never the same every night and it’s possible the mood and response of the audience can have some affect. Whatever the affect, The Last Cargo Cult will have you laughing and thinking at the same time and that’s the best thing about a night at the theatre.

Woolly Mammoth Theatre Company
641 D St NW, Washington, DC 20004