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Off Broadway

Fulfillment Center: Walk Quickly Before the Buzz Ends the Ride.

Fulfillment Center: Walk Quickly Before the Buzz Ends the Ride.

Eboni Booth, Frederick Weller

There is something incredibly uncomfortable going on in the small New York City Center Stage II theatre, and I mean that in the greatest of compliments. No matter how intimate the dialogue or how fundamentally nonsensical it appears, the series of two character scenes that make up the devastating Fulfillment Center as written by Abe Koogler, never seem to garner any type of closeness. In moments that should feel romantic or connected, the characters stand epically far apart on that long runway of a stage (scenic design: Andrew Lieberman; costume: Asta Bennie Hostetter; lighting: Pat Collins; sound: Ryan Rumery). Even when the pair are physically side by side, they never can quite cross the divide that deepens between them. As directed by Daniel Aukin (MTC’s Fool for Love), it’s tragic and surprisingly engrossing as we watch these four fine actors strive but rarely meet. They flounder in their own questionable choices and roadways that have brought all of them to this desolate town in New Mexico. And here, in that desert wasteland, they engage and disengage; passively, aggressively, cruelly, kindly, and sadly.

Bobby Moreno, Eboni Booth

One young man, Alex (Bobby Moreno) has relocated for a management job at the Fulfillment Center. Something akin to an Amazon warehouse where people run around grabbing items to fill orders that are meant to fulfill dreams. His college sweetheart, Madeleine (a strong and layered Edoni Booth) has followed from New York City to be with him, while pushing him away. Lost and alone, her desperation can’t seem to be quenched. The older Suzan (the utterly spectacular Deirdre O’Connell) is on the run from a failed relationship. She finds herself trapped in New Mexico with a broken down car living in a tent at a trailer park. The weathered handsome loner, John, (an epic and detailed portrayal by Frederick Weller) has been kicked out from his girlfriend’s home, and settled into a life living in his car. There is something strangely menacing in his detached awkwardness, but wonderfully we are just left to be curious about it. No explanation given. The collision that brings all four of these complex characters together, in alternating pairings, is wrought from deeply emotional scenarios, that resonate in a charming but melancholy manner. It is unique, funny, and disturbing. Much is left unsaid or unexplained, but the need and the reactive push-back is clear.
Deirdre O’Connell, Bobby Moreno
The first scene is the set up for all to follow. It tells you everything you need to know moving forward. Beautifully crafted by all involved, The ‘Fulfillment Center’ is everything that it can’t be. There is no salvation to be found here. No joy and definitely no fulfillment. Alex, achingly portrayed by the talented Moreno (NYTW’s Lazarus) when reading the employee manual rules, can barely force the words out of his mouth, knowing somewhere deep down that they are a lie. In a glaringly obvious sign that he is ill-equipped for this job, he hires the desperate but totally unfit Suzan as one of the packers. His brain almost has a melt-down as he instructs her on her new job and what the Fulfillment Center’s goals are. She, in her caring hippy manner, tries to sooth him with touch. Helping him, against his will, to release the stress that is building within. If there is one moment of connection in this whole sad tale, it is this. A pause button has been pushed, but it is fleeting, and followed quickly by discomfort. No matter how hard these people try, they will not be able to fulfill the employee manual goals in their own private lives.

My guess is that each audience member will find connection with one of these four characters on some deep and emotional plane. My companion ached for Suzan who describes herself, with a sad desperation, as someone who ‘once was beautiful’. She has made bad decisions time and time again, and now finds herself scared and desperate in the New Mexico desert. O’Connell (MTC’s By the Water) does an amazing job giving us the layers of the complicated Suzan. She is the afraid and needy child living inside an aging hippy-girl frame, with a bad back and a sore knee. Wishing that love and affection will save her from all the predicaments she slides herself into. The ending is a bleak and desolate surrender to where we find ourselves and what we can have. There is a raging hunger for connection but a loss of fulfillment. And in that framework, we find the glory of the Fulfillment Center.

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Off Broadway

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to

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