Hunter, Samuel D

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    In Chicago, 3 Shows That Keep the Audience in Mind and Engaged

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    Musical adaptations of “Midnight in the Garden of Good and Evil” and “The Lord of the Rings” as well as a new Samuel D. Hunter play were on our critic’s itinerary.The musical adaptation of “Midnight in the Garden of Good and Evil” that’s playing at the Goodman Theater incorporates quite a bit of crowd work. In a final coup de théâtre that felt both radical and exhilarating, a character leads theatergoers in a communal use of their Playbills.While the three shows I saw during a recent weekend trip to Chicago were wildly different from one another, my mind kept returning to their relationship with their respective audience. Seeing “Midnight in the Garden of Good and Evil” first set me off on that train of thought.Based on John Berendt’s best-selling retelling of a true crime in 1980s Savannah, Ga., the musical, which is running through Aug. 11, has edited out some colorful figures (goodbye, Joe Odom) and condensed the events (the legal wranglings taking up a good chunk of Berendt’s book whiz by in a few minutes). But the biggest move is a bold change in perspective for the show, which has a book by Taylor Mac and a score by Jason Robert Brown.Berendt’s omnipresent chronicler is now us, the theatergoers, whom the characters often address directly from the stage. This will particularly resonate with those familiar with Mac’s way of integrating the audience into a narrative (as Mac did most notably with the 2016 epic “A 24-Decade History of Popular Music”). Another key Mac preoccupation is the haunting of America by its past, something particularly relevant when it comes to Savannah’s self-mythologizing of its lineage. “Get out of my head, dirty demons of historical pain!” the Lady Chablis (J. Harrison Ghee, a Tony Award winner for “Some Like It Hot”) says at one point. She’s referring to her own history, but it’s hard not to hear a wider reference.Chablis, an exuberant entertainer and insuppressible life force, has moved from the book’s periphery to the show’s center, and Ghee’s performance, languid yet sharply angled, is a delight. The nightclub number “Let There Be Light” could use a little more voltage, but then the director Rob Ashford and the choreographer Tanya Birl-Torres are overall too timid in the splashier scenes.The show’s other focal point is Jim Williams (Tom Hewitt), the wealthy antique dealer and furniture restorer who kills his younger lover, Danny Hansford (Austin Colby). In effect, Mac’s book is structured around two ways of being queer in the South 40 years ago. The outsider Chablis is Savannah’s very own Puck, spreading joyful bedlam and ladling out truths; Jim is both accepted and resented by the city’s elite — personified by the Ladies Preservation League, led by Emma Dawes (Sierra Boggess, revealing previously underused comedic chops).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: Rude T-Shirts and Rude Awakenings in ‘A Bright New Boise’

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      An early play by Samuel D. Hunter finds the author developing his voice by lending it to the lost souls working at an Idaho Hobby Lobby.For most who attempt it professionally, playwriting is a hopeless job, with few opportunities to break in and fewer to advance. So it’s a pleasing irony that the playwright Samuel D. Hunter, the reigning bard of American economic dead-endism, has managed such a vibrant career.His trophy case is crowded with prizes: Obie, Whiting, Drama Desk, Lucille Lortel, MacArthur. The film adaptation of his 2012 play “The Whale” is up for three Academy Awards at next month’s ceremony. Even more impressive is that, at just 41, he’s had 11 New York City stage premieres in 12 years, from the jumbly satire of “Jack’s Precious Moment,” his local debut in 2010, to the sublime heartbreak of “A Case for the Existence of God” in 2022.“A Bright New Boise,” also from 2010, was the first of Hunter’s plays to achieve widespread notice, and with good reason. It introduced the radical sympathy of his voice and the quietly despairing people who evoked it. These were characters that few playwrights paid attention to: low-wage earners, many working at local branches of national chains, mostly in Hunter’s native Idaho. They struggle with the fallout of economic devastation and the emotional kind so tied up with it. Searching for faith, they must face its insufficiency.So interpret with caution the title of “A Bright New Boise,” which opened on Tuesday in a taut Signature Theater revival directed by Oliver Butler. It takes place in the break room of a local Hobby Lobby, on a deadly accurate set by Wilson Chin featuring a malfunctioning microwave on the counter and soporific motivational programming on the closed-circuit television. That the programming is occasionally interrupted by surgery-cam videos — a scalpel probing an ear is how this production begins — baldly warns us that we are in for something deeper and more upsetting than mere corporate uplift can obscure.The focus of that upset, we understand at once, is Will (Peter Mark Kendall), a man nearing 40 who is interviewing for a cashier’s position at $7.50 an hour. In 2010, when the play is set, that’s just 25 cents above the federal minimum wage, yet he accepts it willingly. Why?More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.The proud, efficient and bilious store manager, Pauline (Eva Kaminsky), is all business; her upswept hair is a pincushion of pens. But Will is clearly in some kind of trouble. He answers her questions haltingly, the holes in his speech and his résumé suggesting the damaged places in his soul. When asked for an emergency contact, even one that “doesn’t have to be local,” he has none to provide.Peter Mark Kendall as Will, and Anna Baryshnikov as Anna, spend evenings reading and writing in the break room after hours.Sara Krulwich/The New York TimesA bit too methodically, Hunter introduces three of Will’s new co-workers, and here the play, though slightly revised since 2010, begins to betray some early-career awkwardness. One co-worker is Anna (Anna Baryshnikov), a skittery young woman drawn to Will in part because most of the men she meets “are pretty much terrible.” In Will she thinks she recognizes a kindred spirit; they both hide out at closing time — she among the silk flowers; he in scrapbooking — so they can spend evenings reading and writing in the break room.But even though Anna has real grit and sadness to her, she feels peripheral to the deepest currents of the story: a shore bird, not a fish. So, too, is Leroy (Angus O’Brien), a bro-y M.F.A. candidate at Boise State who makes T-shirts featuring aggressive phrases like “You will eat your children” and wears them to work as performance art. (The costumes are by April M. Hickman.) Though it’s Leroy who precipitates the play’s crisis by uncovering Will’s past, the comic and tensioning purposes to which he’s put don’t blend, making him more of a convenience than a character.Only the third co-worker, Alex (Ignacio Diaz-Silverio), is as central to Will’s story as he is to his own. To say how would be to spoil the plot, but Alex is quite a creation: a sullen high school student who has panic attacks, listens to Villa-Lobos on his iPod and is looking for something — in life as in himself — that isn’t a lie or a letdown. When we learn that Will is suffering a terrible disappointment of his own, a disastrous evangelical past he’s trying to shed, we see the crash coming.It’s a mark of Hunter’s patient construction that these Big Issues are usually rooted deeply in the plot, not sprinkled on top of it. In one of the play’s best scenes, Alex, freaking out over a $187 discrepancy Pauline has discovered in his register receipts from the previous day, allows Will to help him search the receipt rolls for the error. There’s no obvious reason that such a dull project — it takes several minutes — should make dangerous, believable, feelingful theater but it does.Actually, the believable part is no mystery; Hunter’s first job was at a Walmart in Moscow, Idaho. Nor is the dangerous part really so surprising: As a teenager Hunter attended an evangelical school for more than four years. He writes about the intensity of fellowship offered by charismatic leaders as vividly as he does the threat to individuality that comes with it. For Will, who came of age in that world, mainstream churches are little more than Hobby Lobbys — national chains selling discount goods.That he engages your sympathy instead of (or along with) your repulsion is the essence of Hunter’s gift. It’s a gift not just of human connection, but of theatrical compaction, a nuclear pressure he applies to people in distress. In that, “A Bright New Boise” anticipates the more sophisticated dramaturgy of his more recent plays, which less and less require extra characters. “A Case for the Existence of God” has only two until its coda.But “A Bright New Boise” sprawls. Despite Butler’s swift and confident staging and the fine work of the cast — and the hilariously corporate lighting, sound and video design — the play sometimes seems like a game of marbles, its five characters, each energized by trouble, banging up against one another in patterns that seem both random and overdetermined.It’s still a compelling play, worth seeing in itself and as a map of what would follow. Also as a map of what didn’t. When Leroy, explaining the philosophy behind his T-shirts, says he’s “forcing people to confront words and images they normally avoid,” you hear him ventriloquizing for Hunter. In a short time, though, the confrontations became invitations, and the T-shirts great theater.A Bright New BoiseThrough March 12 at Pershing Square Signature Center, Manhattan; signaturetheatre.org. Running time: 1 hour 40 minutes. More

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      ‘The Whale’ Review: Body Issues

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      Brendan Fraser plays an obese writing instructor reckoning with grief and regret in Darren Aronofsky’s latest film.Charlie is a college writing instructor who never leaves his apartment. He conducts his classes online, disabling his laptop camera so the students can’t see him. The movie camera, guided by Darren Aronofsky and his go-to cinematographer, Matthew Libatique, also stays indoors most of the time. Occasionally you get an exterior view of the drab low-rise building where Charlie lives, or a breath of fresh air on the landing outside his front door. But these respites only emphasize a pervasive sense of confinement.Based on a play by Samuel D. Hunter (who wrote the script), “The Whale” is an exercise in claustrophobia. Rather than open up a stage-bound text, as a less confident film director might, Aronofsky intensifies the stasis, the calamitous sense of stuckness that defines Charlie’s existence. Charlie is trapped — in his rooms, in a life that has run off the rails, and above all in his own body. He was always a big guy, he says, but after the suicide of his lover, his eating “just got out of control.” Now his blood pressure is spiking, his heart is failing, and the simple physical exertions of standing up and sitting down require enormous effort and mechanical assistance.Charlie’s size is the movie’s governing symbol and principal special effect. Encased in prosthetic flesh, Brendan Fraser, who plays Charlie, gives a performance that is sometimes disarmingly graceful. He uses his voice and his big, sad eyes to convey a delicacy at odds with the character’s corporeal grossness. But nearly everything about Charlie — the sound of his breathing, the way he eats, moves and perspires — underlines his abjection, to an extent that starts to feel cruel and voyeuristic.“The Whale” unfolds over the course of a week, during which Charlie receives a series of visits: from his friend and informal caretaker, Liz (Hong Chau); from Thomas (Ty Simpkins), a young missionary who wants to save his soul; from his estranged teenage daughter, Ellie (Sadie Sink), and embittered ex-wife, Mary (Samantha Morton). There is also a pizza delivery guy (Sathya Sridharan), and a bird that occasionally shows up outside Charlie’s window. I’m not an ornithologist, but my guidebook identifies it as a Common Western Metaphor.Speaking of which, Charlie is not the only whale in “The Whale.” His most prized possession is a student paper on “Moby-Dick,” the authorship of which is revealed at the movie’s end. It’s a fine piece of naïve literary criticism — maybe the best writing in the movie — about how Ishmael’s troubles compelled the author to think about “my own life.”Perhaps Charlie’s troubles are meant to have the same effect. He becomes the nodal point in a web of trauma and regret, variously the agent, victim and witness of someone else’s unhappiness. He left Mary when he fell in love with a male student, Alan, who was Liz’s brother and had been raised in the church that Thomas represents. Mary, a heavy drinker, has kept Charlie away from Ellie, who has grown into a seething adolescent.All this drama bursts out in freshets of stagy verbiage and blubbering. The script overwhelms narrative logic while demanding extra credit for emotional honesty. But the working out of the various issues involves a lot of blame-shifting and ethical evasion. Everyone and no one is responsible; actions do and don’t have consequences. Real-world topics like sexuality, addiction and religious intolerance float around untethered to any credible sense of social reality. The moral that bubbles up through the shouting (and the strenuous nerve-pumping of Robert Simonsen’s score) is that people are incapable of not caring about one another.Maybe? Herman Melville and Walt Whitman provide some literary ballast for this idea, but as an exploration of — and argument for — the power of human sympathy, “The Whale” is undone by simplistic psychologizing and intellectual fuzziness.Aronofsky has a tendency to misjudge his own strengths as a filmmaker. He is a brilliant manipulator of moods and a formidable director of actors, specializing in characters fighting their way through anguish and delusion toward something like transcendence. Mickey Rourke did that in “The Wrestler,” Natalie Portman in “Black Swan,” Russell Crowe in “Noah” and Jennifer Lawrence in “Mother!” Fraser makes a bid to join their company — Chau is also excellent — but “The Whale,” like some of Aronofsky’s other projects, is swamped by its grand and vague ambitions. It’s overwrought and also strangely insubstantial.The WhaleRated R for abjection. Running time: 1 hour 57 minutes. In theaters. More

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      ‘The Whale’ Premiere in NYC Inspired Strong Reactions

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      More than 100 actors, singers and creative professionals attended the New York premiere of Darren Aronofsky’s new film at Alice Tully Hall this week. Some of them shared their thoughts.The carpet was blue. The poster was blue. The suits were blue.That is, until the actor Ty Simpkins arrived at the New York premiere of “The Whale” at Alice Tully Hall this week — in a magenta suit.“I want the summer weather back,” Mr. Simpkins, 21, explained of his choice to break with the otherwise muted palette of the film’s cast and creative team, who arrived on the red carpet — well, oceanic blue carpet — in navy suits and black dresses.The moment of levity was at odds with the character Mr. Simpkins plays in the director Darren Aronofsky’s somber new film, adapted from the play by Samuel D. Hunter and produced by A24. The movie centers on Charlie, played by Brendan Fraser, a reclusive, morbidly obese gay man trying to reconnect with his teenage daughter (Sadie Sink) after the death of his lover. (Mr. Simpkins plays a young evangelical missionary who tries to convert Charlie — and wrestles with some of his own demons in the process.)“The Whale” has received rapturous reviews at film festivals — including a six-minute standing ovation in Venice — and has been hailed as a comeback role for Mr. Fraser, whose career faltered in the years after his success in the “The Mummy” (1999). Though Fraser is regarded as a front-runner to win his first Oscar for his performance, and the film will most likely be nominated for best picture, it has also been criticized for Mr. Aronofsky’s decision to put Mr. Fraser in a so-called fat suit rather than cast an obese actor. The director has said that doing so would have been difficult.When asked about his choice to use a “fat suit,” Mr. Aronofsky objected to the phrasing. “I wouldn’t use that word,” he said. “It’s prosthetics and makeup.”The film’s makeup artists, he said, “were able to create this incredible illusion that not only works with the audience but I think helped Brendan inhabit his character and bring it to life.“That you can be transported into the life of someone who seems incredibly different than you and still learn something about yourself is why I love movies,” Mr. Aronofsky continued.On the carpet and at the after-party, the film’s cast and creative team discussed the themes the film tackles, the emotions it raises and what they hoped audiences would take away.The writer and playwright Samuel D. Hunter, left, with the actor Brendan Fraser and the director Darren Aronofsky at La Grande Boucherie after the New York premiere of “The Whale.”Jackie Molloy for The New York TimesMitch Bukhar, left, a talent agent, with Ty Simpkins, who played a young evangelical missionary in “The Whale.”Jackie Molloy for The New York TimesMr. Fraser gained weight for the role, in addition to wearing the prosthetics, which added as much as 300 additional pounds to his frame. He has said that he prepared for the part by speaking with people who have struggled with eating issues, asking about their diet and the impact of their weight on their relationships.“Very often people who live with severe obesity are disregarded and shut away and silenced,” said Mr. Fraser, 53, who attended the premiere with two of his sons, Holden Fraser, 18, and Leland Fraser, 16. “So it was my obligation — my duty — returning dignity and respect and authenticity.”He continued: “The creative choices we made — the makeup, the elaborate costuming that I wore — with the help of the Obesity Action Coalition, I’m pretty sure that we came really close to creating a film with a main character who hasn’t been seen in this way, as authentically before, and I’m proud of that.”The film, which shows Charlie inhaling whole buckets of Kentucky Fried Chicken and double-stacked slices of pizza — with ranch dressing added on top — and being subjected to relentless verbal abuse by his teenage daughter, can at times be hard to watch. But stories that push and challenge audiences remain essential, said Mr. Hunter, who wrote the film.“In academia, there’s kind of a push for no more trauma-based stories, and I struggle with that,” said Mr. Hunter, 41, after posing for photos next to his husband, the dramaturge John Baker, on the carpet. “Not only because that is discounting a broad swath of world literature — maybe the majority of it, certainly the Bible — but also because I think there’s utility in looking at dark things through the lens of fiction.”Mala Gaonkar and David Byrne at the after-party for “The Whale.”Jackie Molloy for The New York TimesBut Mr. Aronofsky wanted to be clear: The film is not meant to induce two straight hours of waterworks. “What’s surprising to many people is how funny it is,” he said. “I think when people see the heartfelt material, there’s a lot of laughs.”At an after-party at the heated outdoor atrium of the upscale French brasserie La Grande Boucherie on West 53rd Street, where sliders, artisanal cheeses and wine were served, David Byrne, the former Talking Heads frontman, said it wasn’t the humor that had surprised him, but the humanity.“It’s surprising, the amount of heart in it,” Mr. Byrne, 70, said.Over by a gleaming Christmas tree, the comedian Jim Gaffigan was still processing what he had just experienced.“A film that moves you that much, you want to give a standing ovation to,” Mr. Gaffigan, 56, said, clutching a glass of wine. “But I feel like the audience was so emotionally drained that we needed the walker.”“Darren always does that,” he continued. “He accesses emotions that are very credible, very personal. It’s going to take a while to process.”Quick Question is a collection of dispatches from red carpets, gala dinners and other events that coax celebrities out of hiding. More

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      Review: Making a Beautiful ‘Case for the Existence of God’

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      Samuel D. Hunter’s heartbreaking new play argues for hope even in the face of extreme disappointment.About a third of the way through “A Case for the Existence of God,” Samuel D. Hunter’s must-see heartbreaker of a play, one character, Ryan, tells the other one, Keith, “I think we share a specific kind of sadness.”The insight would seem almost comically unlikely if it came any sooner. Ryan (Will Brill) has been introduced to us as a feckless screw-up: undereducated, hopeless with money, scraping by at a yogurt plant. Though he claims to have written a novella, he does not know what “harrowing” means.He would seem to have nothing in common with Keith (Kyle Beltran), an uptight, button-down professional who uses the word casually. Financially savvy and culturally sophisticated, Keith has a dual degree in Early Music and English. For fun he listens to motets.That Ryan is white and straight, and Keith is Black and gay, also comes into it. You could not make more neatly matched opposites if you were designing a new kind of magnet.But by the time Ryan blurts out to Keith what he sees as their fundamental connection, Hunter’s meticulous plotting has led us to the same conclusion. We are somehow ready to understand that the unlikely statement is both powerfully true and, perhaps, universal. The question is: What is the purpose of a sadness you can share but not escape?“A Case for the Existence of God,” which opened on Monday in a Signature Theater production directed exquisitely by David Cromer, is another of Hunter’s public explorations of his own private Idaho: a post-boom, existential vastness in which emotional and economic collapse are conjoined. Earlier plays set in Lewiston, Boise, Pocatello and others have dealt with people failing to thrive in the barrenness of Costcos, Hobby Lobbys and sub-Olive Garden restaurants.And though “A Case” makes the connection between personal and societal calamity more explicit than ever — can it be just an accident that it’s set in Twin Falls? — it may also be the purest example yet of Hunter’s approach to playwriting as an experiment in empathy.Ryan is the primary beneficiary of that experiment here. Except for his being human, there is nothing huge about him, either heroic or horrendous, that would suggest the makings of a typical main character. Indeed, he has come to Keith, a mortgage broker, with only a very small dream in his pocket: to repurchase 12 acres of property that once belonged to his family. By making a home there, he hopes to show the courts considering his divorce from his wife that he is stable enough to share custody of their 15-month-old daughter.While Brill, left, comes to Beltran to talk about a mortgage, the pair bond as nervous fathers of young daughters.Sara Krulwich/The New York TimesIf Ryan is terrified of losing his child, Keith’s version of the same fear comes from a very different source. As the play begins, he has for more than three years been trying to become a father, first through surrogacy and, when that failed, through foster care leading to adoption. The girl eventually placed with him is about the same age as Ryan’s — the men met at their daughters’ day care — but the threat to Keith is entirely external. A relative of the birth mother has, at the last minute, expressed interest in raising the child herself.The two processes depicted in the play — getting a loan, adopting a child — turn out to be similar, at least for men who, for different reasons, are outsiders to the systems that control their fate. Though Ryan feels that “money is the only real permission I have to be alive,” he is so naïve about how it works, never having had any, that he suggests sending photos to potential lenders to show he’s a “decent guy.” Keith has likewise staked his life’s happiness — his very legitimacy — on institutions that find single men, let alone gay ones, inherently unworthy.As a parent by adoption myself, I have to say that the adoption plot felt absolutely authentic in a way it rarely does in plays. Less so the banking plot; I’ve been through that, too. Only a loan shark would dream of risking a dime on Ryan, as Keith would instantly have known.But Hunter is too complex a playwright to let us bask for long in the procedural aspects of the story anyway — or, for that matter, in the awkwardly growing bond between the men. He is more interested in the misalignment of their needs and abilities; as is nearly inevitable for people damaged in different ways, they can help each other only so much. When you want Keith to be gentle, he lashes out; when you want Ryan to face facts, he can’t. And the world is neither man’s friend.Or is it, eventually? Though the “case” of the title is not proved, it is argued beautifully by the surprising resolution, which suggests that failure may not be the end of the story. That thin thread of optimism depends on the extreme delicacy of Cromer’s production to produce its outsize effect. Most of the play moves in drolly inconclusive eddies of suppressed feeling, scene flowing into scene without pause or signpost, until, having pulled back from emotion for so long, it can’t be contained any longer. Even then, Cromer puts the lid back on as soon as possible; when Keith has a panic attack, why should we get a catharsis?Arnulfo Maldonado’s set confines the actors to a cramped cubicle, surrounded by the vastness of the dark stage, for most of the play.Sara Krulwich/The New York TimesThe design follows accordingly. The set, by Arnulfo Maldonado, depicts the cramped cubicle Keith occupies at his brokerage; framed like a cell by the vastness of the Pershing Square Signature Center stage, it could induce a panic attack all by itself. The men never even get out of their chairs until the play suddenly evolves near the end, at which point the set evolves too, producing an almost geological change in atmosphere. The costumes by Brenda Abbandandolo, lighting by Tyler Micoleau and sound by Christopher Darbassie are equally subtle and affecting.The same can be said for Brill and Beltran, always fine on their own but never better and more in sync with an acting partner than here. Perhaps only when people are so comfortable together (the actors were roommates at Carnegie Mellon School of Drama) can discomfort be played and transcended so authentically. Even negotiating Hunter’s slight writerly tics — the way he sometimes spins gears to delay the next development — they backfill each moment with a depth of feeling that gives a quiet play, in many ways a comedy, the density of tragedy.It’s the kind of tragedy, though, that hurts by means of hope, like land broken up to take seeds. If Ryan began the play not knowing that’s what “harrowing” means, he soon learns — as do we.A Case for the Existence of GodThrough May 15 at the Pershing Square Signature Center, Manhattan; signaturetheatre.org. Running time: 1 hour 30 minutes. More