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    Review: ‘Public Obscenities’ Pushes Far Beyond One Field of Study

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    The new work from Shayok Misha Chowdhury creates a strong enough center for the rest of its disparate parts to hold, and leaves the audience craving more.It is a testament to Shayok Misha Chowdhury’s gifts as a writer that he is able to evoke as many themes, histories and possibilities as he does in “Public Obscenities,” and leave his audience not dazed or frustrated, but longing for even more. Truthfully, the work might best unfold as a mini-series, a longer medium where his interests can find proper room to breathe.Running just under three hours, the play’s premiere production at Soho Rep, in Lower Manhattan, is both too long for one cohesive sitting, even with an intermission, and too short to tidy up all the threads at which it pulls. But, co-presented by the National Asian American Theater Company and directed by Chowdhury with a swooning hypnotism reminiscent of the best works of neorealism, it creates a strong enough center for the rest of its disparate parts to hold.To be fair, Chowdhury winks at the impossibility of successfully wrapping up all his concerns in a terrific quip from Choton (Abrar Haque), a Bengali American student who had returned to his native Kolkata, India, for a vaguely defined academic project. At the Ph.D. level, he explains, fields of study — English, anthropology, performance, gender, cinema — all start to look and feel the same.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.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.Along with his non-Bangla-speaking cinematographer boyfriend, Raheem (Jakeem Dante Powell), Choton hopes to interview queer locals found on the hookup app Grindr. To what end, exactly, is uncertain, but it does allow Chowdhury to explore the difficulties of mixing business, pleasure and personal experience in the precarious quest to analyze subcultures defined by their marginalization. Their own relationship dynamic is called into question as Choton and Raheem set up a joint Grindr account, and Haque and Powell navigate these burdensome complexities with touching humanity and intelligence.Their study also provides an excuse for a scene-stealing interview subject to come into the picture, played by the transgender activist Tashnuva Anan with a liveliness and self-assurance made for public adoration. Anan’s character, Shou, identifies as kothi, a native Indian gender similar to an effeminate man and, through Shou, Choton confronts his feeling of alienation from his compatriots’ queer scene.Apart from a later foray into a nearby river, he does this from his late grandfather’s house, now kept by his aunt (Gargi Mukherjee), her online billiards-addicted husband (Debashis Roy Chowdhury) and their housekeeper (Golam Sarwar Harun). With their colorful side stories and performances, these three build out a world unconnected to the young couple’s mission, which is also thrown off-balance through the discovery of an undeveloped film reel inside the deceased patriarch’s camera.This abundance of plot (is it too late to mention Shou’s street-smart friend, played by NaFis?) should come closer to overwhelming the production, but Chowdhury’s cinematic direction — aided by title credits screened onstage by Johnny Moreno (who also turns the space into a serene riverbank), Barbara Samuels’s transitional lighting and Tei Blow’s inventive sound design — keep things steadily afloat. And the sunny one-room set, by dots, a scenic-design collective, is ravishing in its simplicity and use of soft canary yellow (and burning incense).This expansive production casts a wide net, yes, but one kept from being spread too thin by a uniformly excellent cast and the deliberate pacing of a confident playwright. Chowdhury also accomplishes the not-insignificant task of successfully writing a bilingual play, with some of the Bangla dialogue translated via supertitles and some left to nonspeakers’ imagination.If the play ends with some unfortunately unanswered questions, its conclusion is a hopeful, not frustrating, one. Chowdhury is a writer with great promise who, with “Public Obscenities,” may have found himself on the brink of greatness.Public ObscenitiesThrough March 26 at Soho Rep, Manhattan; sohorep.org. Running time: 2 hours and 50 minutes. More

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      in Theater

      ‘This American Wife’ Review: Wives Out, Knives Out

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      The play is a wild genre-bending parody of, and homage to, “The Real Housewives” franchise.I hate reality TV. It’s not the annoying personalities or the absurd playground-style fights or the drama that belies a fundamental lack of substance. Nope, it’s the assertion that it isn’t another fabricated product but action that’s “real.” It’s even in the name: “The Real World” or “The Real Housewives” — with the implicit assumption that life can be as curated as, say, a filmed brunch gathering of pampered celebrity wives.But maybe I’m being too hard on these women, who exist in something between an anthropological experiment and the theater. Yes, theater, the realm where we find ourselves in “This American Wife,” by FourthWall Theatrical. It’s a wild parody of, and homage to, “The Real Housewives” franchise.If you saw Michael Breslin and Patrick Foley’s “Circle Jerk,” a bonkers queer fable on privilege and cancel culture for the internet age, you already have a sense of the kind of satirical comedy and ambition that defines “This American Wife.” Jeremy O. Harris, of “Slave Play,” is also a producer.In the 90-minute production, Breslin, Foley and Jakeem Dante Powell, who are real-life “Housewives” superfans, appear as fictionalized versions of themselves. They each end up in a Long Island mansion while recounting their love for the franchise.Once there, the actors suddenly dip into the personas of the housewives as easily as one would slip into a royal blue satin dress with fringed sleeves — or, you know, whatever you have lying around.Breslin, Foley and Powell act out scenes taken directly from the series, which are sometimes intercut into the production. At certain points the actors take charge of the cameras themselves, interviewing one another in a style that mimics the confession-room reveals of reality TV but also the voyeuristic false intimacy of porn.The production, conceived and written by Breslin and Foley, eventually spins out into a playful music video and then an improvised reunion-style segment where the actors argue and respond, as “Housewives”-esque caricatures of themselves, to questions from fans on Twitter. Throughout, an anonymous woman with a claw-like manicure and long wavy bottle-blonde hair appears in white chunky heels through the mansion — she’s like an apparition summoned from the inherited wealth of Beverly Hills, the splashy opulence of runway fashion and Bravo TV’s bulging wallet.The performers’ lips are thoroughly glossed for their close-ups.Nina Goodheart“This American Wife,” directed by Rory Pelsue (“Circle Jerk”) with mad intensity and mindful allusions to gay stereotypes and internet culture, channels “Housewives” first and foremost with its setting. The production and props designer Stephanie Osin Cohen bedazzles an already palatial Long Island mansion in Lake Success, complete with a museum-worthy collection of framed Pomeranian portraits.Like Cohen, who interrupts the upscale creams and off-whites of the décor with eruptions of colors, the costume designer, Cole McCarty, also walks the fine line between subtle and bold hues. He clothes the actors in sheer blouses and textured blazers before pulling out the extravagant party gowns and statement hats. Tommy Kurzman, the hair, wig and makeup designer, has the performers’ eyelashes ecstatically curled and lips thoroughly glossed for their close-ups.The superficial glamour of “This American Wife” is alluring, the kind of eye candy a superfan might enjoy on the show. Above all that’s Breslin, Foley and Powell embodying — with an uncanny level of precision — the various housewives. The gestures and affectations aren’t just acts of glorified mimicry, however; they are a statement on the Venn diagram of gay male tropes and a particular brand of performance by women. And so there are snapped heads and sashays and the glorious theatrics of Powell as Kenya Moore (“The Real Housewives of Atlanta”), saucily declaring himself “‘Gone With the Wind’ fabulous.” (Powell, as a Black man, also brings attention to the racial element of the franchise, which features mostly white women, but the script doesn’t offer a deeper analysis.)That would have already been a comedic feat for the three, but much of the production is also improvised — and so well that it’s hard to differentiate. The last scene, a feisty interview segment, contains such a juicy rapid-fire argument between Foley’s character and Powell’s that it might have been an actual scrap between two catty acquaintances. (Shout out to Powell’s “I could make avocado toast out of you,” the Louis Vuitton of retorts.)Though I probably risk snappy retribution here, seeing how thoroughly Foley, brandishing my colleague Jesse Green’s book “The Velveteen Father,” roasted him (bitingly and perhaps cruelly), I, like Vicki, Brandi, Danielle, Tamra and Porsha, must not back down.Because despite its vicious charms, “This American Wife” quickly becomes exhausting. Since the production is split into separate movements, the two longest of which are primarily Breslin, Foley and Powell recreating scenes from the franchise, the novelty soon wears off. And though the production is so consciously playing with the artifice of the form, each performer has a moment of vulnerability when he — or at least his autofictional persona — reveals a tragic fact or experience. But when Breslin and Foley separately share the same tragic assault story — experienced by one and appropriated by the other — the gross fabrication casts a shadow of doubt over everything.In one scene, Powell asks Breslin (who can shed white woman tears at the blink of an eye), “What’s your reality?” I had a similar question.For most of “This American Wife” I was onboard but occasionally felt left out of the joke, especially in the improvised parts that could feasibly be sincere. The same is true of the music video segment: The show often feels so seduced by its own eccentric performances that it loses track of its point.What is missing here, which was well-established in “Circle Jerk,” is a more coherent commentary on queerness and reality show divas.Conceptually and technically, “This American Wife” has much to offer, especially in the way it uses humor to seriously consider lowbrow reality TV as an art form that could be on the same level as the highbrow artifice of theater. And for “Housewives” apologists, it’s definitely a must-see.For viewers like me, who prefer their fiction with less spray tans and Prada, these housewives can offer some laughs, but not enough. If I have to watch reality TV, I’d rather look elsewhere — anyone know if “Chopped” is on tonight?This American WifeThrough June 6; thisamericanwife.live. More

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      in Television

      Their Fascination With ‘Real Housewives’ Is Anything but Fake

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      A cadre of Yale drama graduates have followed up a first streaming hit with “This American Wife,” a reality-blurring look at the long-running reality TV franchise.Last fall, the theater company known as Fake Friends had one of the most attention-getting shows of the season, and not just because of its title. The troupe’s livestreamed production “Circle Jerk” was a viral hit, amassing Twitter love from Sarah Paulson, Roxane Gay and Hari Nef, and extending its run before briefly returning on demand in January.Its dynamic use of a real theater space mapped a live experience against a landscape of (literally) inside-the-box Zoom plays, while also tackling those restrictions head-on, thanks to self-aware, meme-ready campiness and sharp commentary on lives lived increasingly online.With a production co-sign from the playwright Jeremy O. Harris and his very digital following, the show propelled two of its members, Michael Breslin and Patrick Foley, into internet fame. They were tapped to adapt “Ratatouille: The TikTok Musical” for the virtual stage, and secured funding to turn their first-ever collaboration into another work of live internet theater.Along with the company’s dramaturges, Catherine María Rodríguez and Ariel Sibert, the two have reworked “This American Wife,” a half-confessional, half-delusional treatise on gay men’s worship of TV’s “Real Housewives” franchise, which they first staged at Yale Cabaret in 2017.Though the company is a four-person operation, they have enlisted a group of “friends of Fake Friends” (as Rodríguez put it) for this production, which begins streaming May 20: the director Rory Pelsue, the performer Jakeem Dante Powell, and Harris as a co-producer — all graduates of the Yale School of Drama.Foley, left, and Breslin say the show will examine the tensions that come with living one’s life significantly on camera.Michael George for The New York Times“We’re all huge theater nerds who can break out deep conversations about ‘Fefu and Her Friends’ in the same breath that we’re talking about Lady Gaga’s last tweet,” Harris, Breslin’s former New Haven roommate, said on a recent FaceTime call. “It’s a real love of high and low, and a rigorous relationship to both.”Breslin and Foley met backstage at a Yale production of Harris’s “water sports; or insignificant white boys” in 2017, where they discovered a mutual love of both experimental theater and the popular Bravo franchise.“Spoiler alert: They’re the same form,” Foley quipped on a recent Zoom call.“We’re really fascinated with what a camera does to a performer,” Breslin added. “What does the presence of a camera change about your behavior, about how you present yourself?”Unlike “Circle Jerk,” a satirical takedown of white gay culture laden with musical theater references, this project takes formal cues from lensed images. It’s styled as an episode of “Real Housewives” run amok, and the team cites French surrealist film, the photography of Man Ray, and the melodramas of Rainer Werner Fassbinder and Douglas Sirk as major inspirations.Foley and Powell being filmed for segments that will be part of the livestream.Michael George for The New York Times“This American Wife” follows autofictional versions of Breslin, Foley and Powell as they arrive at a glamorous McMansion and recount their relationships to reality television and the impulse to humiliate oneself for attention.Fused with a litany of the Housewives’ actual phrases, the three performers detail personal, often traumatic, facts about themselves, echoing the franchise’s televised oversharing.And as their competing narratives become increasingly revealing and damaging, the show becomes a semi-improvised, high-concept dialectic on identity and “realness.”“The show directly confronts this visual internet world of the Housewives and how they’re endlessly used as GIFs, decontextualized from possible tragedies in their lives,” Breslin said.The addition of Powell to the cast allows the creators to surface prickly questions about race that have dogged the “Real Housewives” franchise.Michael George for The New York TimesWhile the “Housewives” shows draw steady social-media chatter, the intensity of attention seemed to reach a fever pitch during lockdown. “Because we’ve had this year off, a lot of people were watching the ‘Real Housewives’ on both a surface and an intellectual level,” Powell said.Queer viewers have a particular interest in debates over how real reality TV really is. “I think queer people have a real stake in this division of reality and fakery — what gets deemed real and what gets deemed fake,” Breslin said.“Within the gay community there’s a big tendency to look at the pre-coming-out period as a dark age — to foster this narrative of being a fake self, or playing a character and telling narratives that weren’t true, while still living a life,” said Foley.“That experience of a lie that is lived-in is integral to me,” he added.Early rehearsals at a West Village townhouse previously owned by Sarah Jessica Parker saw the team spend hours reviewing “Real Housewives” footage, determining which eye-rolls and gestures would best evoke the essence of the conspicuous rich, and which could be included as pre-existing GIFs.There and at the Long Island mansion where the company completed tech rehearsals — and from which it will livestream — flowed a heady combination of after-hours grad school discourse and pure farce. Wigged performers yelled Kandi Burruss quotes at refrigerators and other domestic essentials, which would later be fitted with livestreaming GoPro cameras.The character played by Powell, a Black actor, is new to this iteration — the fourth, following two at Yale and one for Next Door at New York Theater Workshop. It brings race into the former two-man show, responding to a crucial element Breslin and Foley felt missing from their original script.Breslin and Foley said that incorporating Powell — an understudy in Harris’s Tony Award-nominated “Slave Play” on Broadway — was an obvious choice, given his “encyclopedic knowledge” of the franchise, and what his addition would do for the piece’s dramaturgy.Ariel Sibert, left, a dramaturg and Rory Pelsue, to her left, is the director of “This American Wife.” Michael George for The New York Times“I remember talking to them about the Housewives that they gave voice to in the show,” Powell said. “For obvious reasons, there were voices that were not there, but who were alluded to in the text.”“There is something easily identifiable for me with how femininity lives within the body of a Black woman that didn’t resonate with me in the white women,” he added, describing that exploration as “really enticing.”The show, which to him now “feels like a brand-new piece,” aims to critique the role of race, not just within queer fandoms, but within the franchise itself, whose lack of diversity has been called out in major publications, from The New York Times to a Hollywood Reporter essay by Kareem Abdul-Jabbar.“We have the first Black woman on ‘The Real Housewives of New York’ in 2021,” Breslin pointed out. “What does that say about what these shows are instructing people on what New York is?”In 2020, the “Real Housewives of Atlanta” star NeNe Leakes called its creator Andy Cohen racist on Twitter, shortly after exiting the show.“The conversation around what’s going on behind the scenes with NeNe and Bravo is fascinating to me,” Powell said. “It’s the same conversation that’s happening around the country — how the tenets of white supremacist culture exist everywhere.”Harris, who has used his recent financial success to fund several, mostly Black-led, theater initiatives, said he finds Fake Friends’ mission “really exciting.”“If you are a person of color, you are generally demanded to write something that puts your entire identity on the line,” he added. “I get very annoyed that it’s very easy for a white person to write something mundane that risks nothing, to get acclaim. Having friends who are so willing to ask hard questions about what their personhood in this country means is exhilarating.”FourthWall Theatrical, a two-woman production company composed of Jana Bezdek and Jen Hoguet, is producing the work with Harris. “This American Wife” will be their inaugural production.According to Breslin, Bezdek introduced herself as a lover of “three things: feminist theater, Brecht, and musicals.”“I used to work in reality TV so I can’t watch it for relaxation,” she said. “But this is such a complex, intelligent piece, that is not just reflecting our obsession with ‘The Real Housewives’ back on us, but reflecting ourselves back on us.”This American WifeThrough June 6; thisamericanwife.live More