Worth seeing? Definitely. But don’t wait. Not everybody agrees with that sentiment, citing nits of picking all over the place. I have a few of my own but bottom line, I enjoyed the show for its look , for its performance, for its stimulation. It’s continuously interesting, given all the story lines. It is different enough to be initially arresting, then continues to hold your attention even past -- here’s a nit pick – similar bits in current and recent shows. Almost inevitable, Freshness, though, is what counts. And this is a very current show in many ways, including unintentional. Its wrangles on race are refreshing in what they say and even more in what they do. Mostly, beyond the laughs, I got involved and was moved, and didn’t expect to because of much that is familiar.
Let’s start with David Gallo’s intriguing setting because we have to; it’s bugged many viewers but it fascinates me. As soon as you walk in, it’s right smack there, huge, all over the blessed stage from one embossed edge to the other. The Cort is a pleasure of a theater, two balconies high with accompanying ornate boxes maintaining their grace despite intrusions of racks of stage lights crudding up the old, ornamented walls. Down on stage, we see an old mansion’s lovely entryway and living room, old wall papers bedecked with modern black artist paintings very Bearden. Cutaway wall to the obviously added on updated kitchen,, back kitchen stairs, back stoop, small back terrace. Allows us to keep up with the goings on back there. Everybody gravitates to the kitchen, even this upper middle class family. Oh, and one of the most charming and delightful effects is the way the lighting all over the main part of the house takes on a warm, soft evening glow when night time comes. (Thank you, lighting designer Beverly Eamons). I even liked the opening musical themes Alicia Keys supplied for the acts. It’s a splendid production for an all star cast. Which, of course, tilts everything away from real but in a way, that’s why you’re there. Black stars always pull blacks to Broadway – and Off – audiences. No black stars, no blacks in the house. It’s a very obvious given.
Guy and gal arrive, sloppy chic, bag and baggage. Big weekend on the Vineyard at the LeVay family home. Spoon LeVay (Dule Hill) and fiancee Taylor (Tracie Thomas) He’s so cool, she’s agog , this house wows her. Cheryl, the maid’s daughter (Condola Rashad) filling in for her mysteriously ailing mom, is wildly pretty, all grown up with a smile that lights up the entire theater, hilariously far and away better at comedy timing than anyone in the whole show, terribly overefficient being a maid, something resentful about it all. What? We’ll get there…Taylor tries and tries to be helpful, is spurned again and again. She’s trying too hard, it is seen as demeaning, belittling, already bumps in the weekend. Spoon cannot tolerate his girl friend being awkward being waited on. Clash of class? We tuck it away for now. Big brother Flip LeVay (Mekhi Phifer) -- note: it’s “brother”, not “brotha” , these are upper class, moneyed black guys, get it? – arrives with his white girl friend, Kimber (Rosie Benton), a stunner, a lady, a do-gooder, cool, but when she feels the challenge from Taylor, she speechifies, laying out her liberal credentials and activities. Taylor, doctoral candidate – they’re all professionals, Flip is a plastic surgeon, Spoon a published author, their dad still not seen, a neurosurgeon so Kimber’s social work is a lower status than theirs, if you’re keeping score. And besides, Kimber is tactful, funny and charming. And beautiful. So Taylor loses it, trots out ghetto language, attitude and rage. Kimber just quietly shuts down, a lady. Which kills Taylor. Director Kenny Leon has winkled lovely niceties out of his actors in the game of playing relationships. But he has not convinced any of them that they are really who they are. And it gets worse with Ruben Santiago-Hudson, who plays their dad, but gives not the slightest indication of being a neurosurgeon. The heavy father, yes. The disconnect with his thirties something kids, yes. Fine. And why is mom not there? Playwright Lydia R. Diamond flies right by into a second act with revelations, keeping us continually intrigued. It’s so very soap opera you feel guilty liking it and watching them but they’re good, very, very good. Sparks fly. Ideas fly. There’s even a reason for the goofy title of the play. It’s good work, handsome work and worthy. Then, why am I defending it so much? Because its depth is not as deep as I would wish, the wit not as witty, its believability not as convincing as I would have it and still – I enjoyed it. Relax. Take it for what it is: a damned good, damned attractive show. There should always be room for that.
Cort Theater, 138 West 48th Street near Sixth Avenue. Tickets: $35=$131.50. Mon, Tue 7 pm, Thu 7 pm, Fri, Sat 8 pm. Sun 7:30 pm. Mats, Sat 2 pm, Sun 3 pm. 212-239-6200.