In a downtown, fourth floor
walkup very off-off Broadway space that
is, ironically, actually on Broadway
(the street that is) and as ironically named the Access Theatre, a new
company—Fulcrum—dedicated to new works by writers of
color, is making its debut with Julius by Design, by the not-insignificant Kara Lee
Cothron, under the direction of Debbie
Saivetz. Though upon entering the space,
which has the not-uncommon black-box layout of a reconverted loft space (the
specific configuration featuring rising seat units that provide 60 seats, with
room for an additional 10 folding chairs), the minimalist and budget-conscious
set design can evoke what I think of as the What am I doing in this
hole-in-the-wall? response, it’s quickly dispelled when the stage
lights come up on fussy, fidgety, optimistic Jo and her dour, placid overweight
husband, Laurel—a middle aged married couple—here portrayed by Suzanne
Douglas and Mike Hodge. What strikes you immediately is the assured
professionalism of the performances and what very likely may strike
you is the correct feeling that these are savvy, experienced veterans you’ve
seen before (many theatre and screen
credits between them). Clearly then, for all its modesty, Fulcrum means serious
business.
As
for fictional characters Jo and Laurel…they mean serious business too. Each in
his/her own way is trying to cope with the murder of their college-age son
several years ago. Laurel by introspection, nursing his memories and some anger
at the killer; and Jo by holding a Thanksgiving gathering to which she has
invited members of her group Grief Counseling sessions—also by secretly
keeping up a correspondence with the
imprisoned killer, having discovered (via a letter of remorse, regret and
apology he wrote her soon after the trial) that far from being an animal, he’s
a confused kid, no older than her son was, who got into something bigger than
he could handle. (The son, as remembered by Laurel, and the prisoner, as
imagined by Jo, are both portrayed by Johnny Ramey) Clearly a
collision is brewing between husband and wife.
For
all that this seems an outline for melodrama, Julius by Design is actually what the media pundits would call a
dramedy, in which Ms. Cothron explores not only the process of grief, but the
eccentricity of it. A trio of supporting characters (Crystal Finn,
Christianna Nelson and Curran
Connor) drawn to Jo’s maternal nature,
themselves dealing with loss, would not be out of place in a higher-end sitcom.
This is both refreshing and problematic, because there’s a mild incongruity of
tone in the delivery—and moments where you’re very aware of Ms. Cothron
exercising her writing muscles, making the effort to particularize.
Then
again, with a play in its third performance of a world premiere engagement by a
fledgling company making it their first offering…who expects flawlessness? If
any venue is a legitimate lab for seeing the work on its feet, learning what
works and doesn’t, in front of an audience not paying too much for the
privilege and glad to be a part of the process, this is it. Mostly, Julius
by Design is a sweet little play about
characters you don’t mind “helping” through their crises…
And
under the circumstances, what else is there to do, really, except recommend the
evening, endorse the company and wish them all well…?
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