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He Says: Six Degrees of Separation Very Well, Indeed

He Says: Six Degrees of Separation Very Well, Indeed

Six Degrees of Separation, Allison Janney, John Benjamin Hickey

“Well, Indeed.” It’s almost all one can say at that crucial moment in the Broadway revival of John Guare’s Six Degrees of Separation.  That line, spoken by Allison Janney (West Wing, Broadway’s 9 to 5), as the well -off Ouisa, breaks the hanging silence and sense of wonder. Ouisa is the wife of the successful art dealer, Flan, played with precision and expertise by the amazing John Benjamin Hickey (The Normal Heart, Dada Woof Papa Hot). She, nor anyone in the room, can think of nothing else to say.  It is spoken brilliantly by Janney with a wondrous excitement after a breathtaking lecture on a stolen thesis centered around the book, ‘Catcher in the Rye‘. But the speech is also about so much more as soliloquiad by the equally wondrous Corey Hawkins (Straight Outta Compton, Roundabout’s Suicide, Incorporated). Hawkins is Paul, the young black man that flies his way into the home of these two liberals on the Upper East Side of Manhattan with a stab wound to his abdomen, a story about a mugging, and a few familiar names dropped immediately to gain entrance. This all happens quickly and with a great deal of surprise on a very important night. Elephants are in the room, figuratively speaking, in the guise of the South African guest, Geoffrey, portrayed by the exquisite Michael Siberry (MTC’s An Enemy of the People).  Deals are trying to be made, slyly and casually, but the real sales deal that is being orchestrated is by Paul, unbeknownst to all.

Six Degrees of Separation, Allison Janney, John Benjamin Hickey

As directed by Trip Cullman (YenSignificant Other), Paul weaves a story that enwraps these intelligent upper east side liberals because it drips with shadows and elements of privilege, intimacy, familiarity, and an opportunity for these privileged parents to prove their own liberalism and ideals against racism, paranoia, and stereotypes.  They desperately want to engage this young man, bring him into their outstretched caring arms, in an effort to quiet the guilt and shame of white privilege and also, layered on top, is a strong desire to believe his stories about their own children. Children that are as estranged and distance from them as this young man is engaged and in need of their care.

Six Degrees of Separation, Allison Janney, John Benjamin Hickey
What happens next is legendary. The play, written by John Guare (The House of Blue Leaves) was first produced at the Lincoln Center Theater before transferring to Broadway starring the magnificent Stockard Channing, along with John Cunningham, and James McDaniel (later in the Broadway transfer, Paul was played by Courtney B. Vance). But I only have knowledge of the 1993 movie with Channing, the glorious Donald Sutherland, and a very young Will Smith. So part of me was surprised by the more avant-garde set that greeted me at the Ethel Barrymore Theatre, beautifully crafted and appointed by the scenic designer, Mark Wendland (Heisenberg, If/Then), costumes by Clint Ramos (EclipsedIn Transit); lighting, Ben Stanton (Deaf West’s Spring AwakeningFun Home); sound, Darron L. West; and projection design: Lucy MacKinnon (Deaf West’s Spring Awakening, MCC’s Yen). I expected a more naturalistic set of an Upper East Side living room, not the bold colored stylized space before me. I realized, at that moment, that I had no real idea or memory where this play was heading, except for the one simple image of a wealthy couple’s luxurious apartment that I had retained. This play is so much more than that. In so many ways. And so is Janney, who gives a performance worthy of comparison to Channing, and worthy of all the nominations she will most likely get over the next few weeks.
 Six Degrees of Separation, Allison Janney, John Benjamin Hickey

Hanging over the space is the metaphorically rich two sided painting that will be used by Paul to ensnare them. As the stories get told, and the engagement crystalizes, the layered and rich play spirals forward. Two sides to all stories, remember. But then, shockingly, a hustler (energetically played by a beautifully sculptured James Cusati-Moyer making his Broadway debut) brings it all crashing down. This shockwave ushers in doubt, confusion, and some other well-heeled parents and friends of the family. Kitty and Larkin, played to perfection by Lisa Emery (Casa Valentina) and Michael Countryman (Wit) rush in with a surprising story of their own to tell. Followed shortly by another tale from another parent, Dr. Fine, hilariously portrayed by Ned Eisenberg (Rocky). Something has to be done, they say, but what? And really, Cats??

Six Degrees of Separation, Allison Janney, John Benjamin Hickey

And then in flops the children, a well educated but angry gang of disenfranchised young adults, disengaged from the parents and embarrassed at every turn by them. The group, played with an exaggerated sense of frustration and disgust by a strong company of young actors, Colby Minifie (Long Day’s Journey into Night) as Tess, Keenan Jolliff (Rebel in the Rye) as Woody, Ned Riseley (Broadway debut) as Ben, and Cody Kostro (Dead Poets Society) as Doug, all have their moments when they could truly shine, but the clownish quality they are directed to take does them no favors. That stance keeps them at about the same arms length from us as they are from their parents. It’s a shame, because the writing gives them plenty of options to be the disgruntled young adults, embarrassed and pissed with their parents, while still giving us real humans. Instead they give us over exaggerated grunts and shouts, that are funny but not centered. Once the fireball Tess meets with former classmate and outsider, Trent, played with a nervous intensity by Chris Perfetti (Signature’s Everybody), she finally calms down a bit, lowering the volume, and in doing so, gives us the able to reach her and connect to her repressed desire  to be noticed. The phone call to her parents speaks volumes about the deep divide that separates all the children from their caring, rich, but confused parents. “I’m going to utterly destroy my life because it is the only way to hurt you.” Or be seen by you.

Six Degrees of Separation, Allison Janney, John Benjamin Hickey

With a dramatic turn of events, a young trusting couple, Rick, portrayed by Peter Mark Kendall (The Rose Tattoo) and his sweet girlfriend, Elizabeth, achingly played by Sarah Mezzanotte (The Wolves), revolve into the orbit of Paul, and from this moment moving forward, the play could have used a slowed down approach. The serious turn of events requires a breath and a pause, but it felt like the director kept the action barreling forward. It spirals forward like a car skidding towards a snowbank.  Pump the breaks a bit, and don’t let go of the wheel, or you’ll loose control and surely crash.

Six Degrees of Separation, Allison Janney, John Benjamin Hickey

It doesn’t crash, but some moments of deep engagement might have been misplaced. It does retain its intimacy though. Throughout. This play, which in my memory existed as a three or four person drama turns out to have one huge cast.  I was shocked as more and more people arrived on stage, telling me that my memory of the film had failed me.  But it also doesn’t surprise me either, looking back. Based on a true story told to Guare of a con man and robber who managed to convince a number of well-off people in the 1980s that he was the son of actor Sidney Poitier.  In a way, this is really just an intimate story of three souls crashing together in a crazy messed up world.  Janney is particularly magnificent as the wife taken in by a young man’s unconscious desire to be seen and held.  She is devastatingly on point in the phone call scene with both her daughter and Paul. Her maternal instincts of being needed and wanted by this young man, in a way that her own children and her husband don’t utilize her, is ignited. It’s tender and powerful.  As she states, “I am bound to everyone on this planet by a trail of six people. It’s a profound thought. How Paul found us. How to find the man whose son he pretends to be. Or perhaps is his son, although I doubt it. How every person is a new door, opening up into other worlds. Six degrees of separation between me and everyone else on this planet. But to find the right six people.”  It makes us feel much more connected to her than six degrees.

So for more, go to frontmezzjunkies.com

Broadway
@#frontmezzjunkies

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 last...so 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 frontmezzjunkies.com

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