Broadway doesn’t really do thrillers anymore. Unless we expand the definition to encompass the wailing banshees of The Ferryman or the occasional Martin McDonough blood drench, the stage has …
, directed by David Cromer with a hushed surety and opening tonight at Broadway’s Studio 54 – includes no obvious crimes, no hint of the supernatural or anything else we associate with bump-in-the-night tales. Rapp instead has written an intensely quiet play of two lonely people circling one another, each as wary of the other and both seeming to reach out more as instinct than plan.
What we know, at least initially, of Parker’s Bella Baird is what she tells us. On a dark, bare stage – at least, we assume it’s bare because it’s too dark to see; when a stick of furniture is needed or even a tiny kitchen, they’ll show up – Bella introduces herself directly to us, occasionally landing upon a phrase so good she pauses to write it down.
Beyond her somewhat forgiving brown eyes, your narrator could be described as unremarkable. In that thorny subjective bureau of classification known as the Looks Department, if she’s being brutally honest with herself, she’d say she’s perhaps four or five degrees beyond mediocre, also known as “sneakily attractive.Anyway, I was about forty pages into it when I got up to go to the bathroom and was suddenly doubled over in pain. It felt as if I’d been stabbed in the stomach with a hunting knife.
an oversized fourteen-year- old,” spewing college-level, Holden Caulfield bile about other students, other teachers, life.
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