Courtesy of Ghost Light Photography. Used with permission
Now in its 5th Season, American Lives Theatre, led by founder and Artistic Director Chris Saunders, continues to successfully fill its niche on the local theatre scene by advancing its mission that “…engages, provokes and entertains by presenting a mirror reflecting the lives and history of All Americans…” The most recent example of its purpose is its production of The Humans, a dramedy, written by Steve Karam, which is presented on the Frank & Katrina Basile Theatre stage at the Phoenix Theatre Cultural Centre. The work took home the 2016 Tony for Best Play but lost out to Hamilton for a Pulitzer Prize.
Courtesy of Ghost Light Photography. Used with permission
The entire play takes place during a single evening in a sparsely furnished, delipidated basement duplex apartment in New York City’s Chinatown. Brigid Blake (Susanna Quinn), a young aspiring composer and her boyfriend Richard Saad (Trent K. Hawkins-Richards), a social work degree candidate and soon to be heir, has recently moved in together with Brigid, and they are hosting Thanksgiving dinner for Brigid’s family. They include her working class parents Erik (Eric Bryant) and Deirdre Blake (Eva Patton), her sister Aimee (Jenni White), a Philadelphia lawyer suffering from colitis and recovering from a recent split with her girlfriend, and Fiona “Momo” Blake, Brigid’s deteriorating grandmother (Wendy Brown), who suffers from severe dementia and requires constant care and attention throughout the evening.
As the evening unfolds, communication between family members is marked by easy conversation, teasing and jokes. At the same time, underlying resentments, anger, and frustrations emerge and are manifested as tensions rise. Without giving anything away, I will say that like in real life situations such as the one portrayed, it is no surprise when things get toxic and dark toward the end of the evening.
Similar to August: Osage County and Other Desert Cities, The Humans realistically shows a relatable family gathering. Filled with humor, laced with pathos, it is a situation that many can identify with, and which playwright Shaman convincingly portrays through dialogue that sounds authentic and true to the ear.
Expertly directed by Matthew Reeder, overall, the experienced members of the cast turn in mostly solid performances. My only issue with the acting in general was the lack of projection on the part of a several cast members. Without singling out anyone in particular, I suggest that everyone in the company turn up their volume for the benefit of the audience.
Turning to the positive, I was impressed by White, who stood out for her honest performance as someone enduring a chronic disease with grace, courage, and determination. Also impactful was Boyle in her vivid characterization of an elder suffering the ravage of a debilitating disease that steals one’s mind, health, and spirit.
Further reflecting the high caliber of ATL’s artistic product, the technical wizards did an outstanding job of creating the play’s world. Indeed, praiseworthy is the work of designer Rozy Isquith’s set, the lighting design of Tatyanna Rodriquez, sound design by Kairon Bullock and Ashley Bellet’s costumes.
For tickers to “The Humas” visit phoenixtheatre.org or americanlivestheatre.org
