CurtainUp
CurtainUp
The Internet Theater Magazine of Reviews, Features, Annotated Listings
HOME PAGE

SITE GUIDE

SEARCH


REVIEWS

REVIEW ARCHIVES

ADVERTISING AT CURTAINUP

FEATURES

NEWS
Etcetera and
Short Term Listings


LISTINGS
Broadway
Off-Broadway

NYC Restaurants

BOOKS and CDs

OTHER PLACES
Berkshires
London
California
New Jersey
DC
Philadelphia
Elsewhere

QUOTES

TKTS

PLAYWRIGHTS' ALBUMS

LETTERS TO EDITOR

FILM

LINKS

MISCELLANEOUS
Free Updates
Masthead
A CurtainUp Review
Deathbed


You expect something life-changing to change your life. . .but it all stays the same.
Deathbed
Clifton Guterman and Brandon Miller in Deathbed
Mark Schultz's last play Everything Will Be Different was an Off-Broadway hit (see link to review below). It was a daring play about the sturm und drang of adolescence, couched in brisk and bold language, and its sometimes unclear relationship to reality heightened the inherent tension. His new play, Deathbed, is unfortunately not nearly so daring or thought-provoking.

At a bracing fifty minutes, every word counts, and Schultz's minimalist style of dialogue is readily apparent. However, it's so minimalist that it becomes choppy. Perhaps this is, an attempt for some sort of linguistic hyper-realism, but the play itself is too rooted in reality to break free of naturalism. As a result, everything feels choppy and forced. The short scenes (most under three minutes) don't help.

The playwright has tackled a difficult subject, so kudos for that. Everything we see is oncerned with death or dying or other tragic events, as chronicled through the lives of several different people, intersecting in various ways. One is dying of cancer, and her husband is too creeped out to stay with her. Another has just dumped her loser boyfriend, then finds out her grandfather intends to commit suicide. Two characters are gay and lonely and desperately unhappy. On the periphery of these tragedies are two suburban women in a hospital waiting room, commiserating over a "very sad" book (which may or may not be the play unfolding in front of us). Josh Epstein's brutal lighting—if you've ever been to a hospital waiting room, you know the lighting I'm talking about—lends an added layer of desperation to the proceedings.

The actors seem occasionally unsure of their place in the world, which could be a good thing or a bad thing, depending on whether it's intentional. However, the cast is solid and Wendy C. Goldberg's direction seems assured even though there isn't a lot to work with.

Loss and death are overwhelming subjects that even the longest play couldn't adequately address. Not that Schultz is aiming to create the definitive play on death, but Deathbed is a little too hesitant. At times it's like his last one in that it has an unclear relationship to reality, but that doesn't help when dealing with such weighty issues.

Links
Everything Will Be Different

Deathbed
Written by Mark Schultz
Directed by Wendy C. Goldberg
With Ross Bickel, Charlotte Booker, Emily Donahoe, Clifton Guterman, Ryan King, Brandon Miller, Patricia Randell, Christa Scott-Reed, and Jonathan Walker
Scenic Design: Alexander Dodge
Costume Design: Anne Kennedy
Lighting Design: Josh Epstein
Music and Sound Design: Ryan Rumery
Running Time: Fifty minutes, with no intermission
Apparition Productions, McGinn/Cazale Theatre, 2162 Broadway; 212-352-3101
Tuesday and Sunday at 7 pm; Wednesday through Saturday at 8 pm; Saturday at 4 pm
Tickets $45
Through March 1st
Reviewed by Jenny Sandman based on February 6th performance


The  Playbill Broadway YearBook
The Playbill Broadway YearBook


Leonard Maltin's Classic Movie Guide
Leonard Maltin's 2007 Movie Guide


broadwaynewyork.com


amazon



©Copyright 2008, Elyse Sommer.
Information from this site may not be reproduced in print or online without specific permission from esommer@curtainup.com