Reviewed by Judy Richter
Traumatized by losing several
loved ones over the years and by seeing people leap from the Twin Towers on
9/11, a brilliant young novelist has retreated to the perceived safety of his
New York apartment for the past two years. That's the premise of "The
Death of the Novel"
by Jonathan Marc Feldman, being given its world premiere by San Jose Repertory Theatre to open its 33rd season.
When
we meet the novelist, 26-year-old Sebastian Justice (Vincent Kartheiser of TV's "Mad Men"), he's talking with the
psychotherapist ordered by his agent in hopes of ending his writer's block and
overcoming his agoraphobia. Much as Perry (Amy Pietz) tries, though, she can't break
through his cynical, sarcastic barriers. He might also be overwhelmed by the
success of his first novel and afraid of not equaling it.
Also
unable to break through Sebastian's barriers are his longtime friend, Philip Patrick
Kelly Jones),
and a hopeful writer, Claire (Zarah Mahler), an expensive hooker who visits him weekly.
Actually, she doesn't really try to break through. She's just an outlet for
him.
Not
until the lovestruck Philip introduces him to his latest girlfriend, the
beautiful, mysterious Sheba (Vaishnavi Sharma), does Sebastian gradually
reveal his feelings. And even then, it takes a long time, well into the second
act, for him to make much headway. In the meantime, he and Sheba do have a
terrific time during five weeks of playful fantasy.
Although
artistic director Rick Lombardo has assembled a fine cast and paces the action well, the
play tends to drag, especially in the first act when Sebastian is given to long
speeches that can be repetitious. Consequently, he comes across as a smartass,
making it difficult to care much about him. He's more sympathetic in the second
act, which works better because events unfold more quickly.
Sheba
is an intriguing woman, especially when Sebastian goes to Google and Facebook
and discovers she might not be the native Saudi woman she says she is. It turns
out that she's mentally disturbed, too, harboring various delusions that may or
may not make her dangerous. Certainly psychotherapist Perry warns Sebastian
about her.
John
Iacovelli has
designed a handsome set of brick walls and an expanse of glass offering a view
of the brick buildings across the street and the New York skyline behind that.
It also revolves to reveal Sebastian's bedroom. The mood-setting lighting is by
David Lee Cuthbert with smart costumes by Denitsa Bliznakova. The music and sound by Haddon
Givens Kime generally
work but can sometimes be intrusive.
If
Feldman had made Sebastian seem a bit more concerned about his situation rather
than so cynical in the first act, the play might work better overall. Still,
the playwright does wrap things up rather nicely.