Sutton Forster and Bobby Cannavale in a scene from Trust
(Photo credit: Joan Marcus)
Just when you think there can be no more new wrinkles in plots, along comes Paul Weitz’s dazzling new psychological comedy thriller, Trust, in which Zach Braff, Bobby Cannavale, Sutton Foster and Ari Graynor play cat and mouse games with each other in varying combinations. Trust also gives Foster an opportunity to rid herself of her reputation for sweetness and light heroines with a much darker role than she has played before. It also gives Cannavale yet another one of his virile thugs who has too much sensitivity, a role that he plays better than anyone else.
By turns hilarious and kinky, perceptive and tense, Trust is a roller coaster ride into the dark recesses of the human psyche that also poses some interesting questions: Whom do you trust? Are people what they appear to be on the outside? What forces in their pasts motivate people’s usual ways of operating? How different are we as adults than the people we appeared to be back in school?
Paul Weitz’s vast output in the last decade has tended to be extremely varied. His stage plays include the clever and innovative Privilege, as well as the unconvincing and trite Show Business. His film scripts include the subtle About a Boy, the witty Antz, and the hackneyed American Dreamz. As a director, he has given the world the raunchy American Pie, as well as the perceptive In Good Company. He seems to either get it all right or all wrong. Trust, which is having its world premiere at The Second Stage, is one of his total winners.
Trust is plotted on the lines of La Ronde: A is married to B who loves C who is in thrall to D who later meets A, etc. However, what is up for the taking here is power and control. Braff plays Harry, a millionaire who has lost his edge. Seeing an ad in the newspaper, he visits a dominatrix (Foster) in an S&M establishment who turns out to be a classmate on whom he had a crush all through high school.
When he confides in Prudence that his marriage is on the rocks, he asks her as a student of psychology to meet his lethargic wife Aleeza (Graynor) even though she has everything and give him her opinion. When Prudence unwisely tells her dangerously volatile boyfriend Morton (Cannavale) the story of whom she has met, this results in a plot that takes each of the characters on their own life-changing dark ride.
Ari Graynor and Zach Braff in a scene from Trust
(Photo credit: Joan Marcus)
Weitz’ humor is caustic, his thrills are intense, his insights are sharp, and his psychology runs deep. Just when you think Trust has no more surprises to offer, Weitz pulls off yet another coup de theatre. Peter BuBois, who directed the stunning Becky Shaw for The Second Stage last season, is responsible for the smart, understated direction which also obtains trenchant performances from his perfect foursome.
In a remarkable example of off-beat casting, Foster, till now known in New York for her roles in such light entertainments as Thoroughly Modern Millie, The Drowsy Chaperone, Young Frankenstein, and Shrek, the Musical, plays the complex Prudence a.k.a. Mistress Carol. Although Prudence enjoys dominating people by day, she is herself dominated by her menacing boyfriend at home. Her past is also a Pandora’s box of unresolved conflicts. At all times commanding, Forster retains her mystery until almost the very end.
As the protagonist Harry who stirs up the pot, Braff plays a charming nerdy sad-sack who has just managed to come out on top. He follows in the footsteps of a whole line of Hollywood light comedians who use physical mannerisms to cover up deep insecurity in the characters they play. Always described as “such a good man,” his stance covers up a streak of cruelty that has made him a power in the business world. Beware the man who seems to be too nice.
Cannavale has now played a whole series of sexy menacing anti-heroes who are marshmallow underneath. His Morton is yet another in his growing gallery of these types for which he seems to have cornered the market. From David Rabe’s Hurlyburly to Theresa Rebeck’s Mauritius to Weitz’ Trust, he plays the petty thinking man’s thug, here a member of Mensa who is too smart to hold a regular 9 – 5 job. His character tries his brand of bravado and charm on each character in turn, finding out about himself along the way.
In the smallest of the four roles in this quadrille power-play, Graynor as Harry’s bored wife Aleeza underplays her role with admirable restraint. She may be bored, but she is never boring, giving each of her line readings a new twist which suggests new lines of exploration. Playing an artist who is incapable of doing anything now that her husband has all the money she can ever spend, Graynor portrays the death of the soul when there isn’t anything left to desire.
Ari Graynor, Zach Braff and Bobby Cannavale in a scene from Trust
(Photo credit: Joan Marcus)
The initial dungeon set by Alexander Dodge makes room for other more domestic environments including Harry and Aleeza’s expensive but tasteful apartment, Prudence and Morton’s more down-scale digs, and various eating establishments around town. Emilio Sosa has the enjoyable assignment of designing everything from black leather outfits to the latest in contemporary casual. David Weiner’s lighting plot is particularly effective in the scene in Harry’s glass and chrome office.
A breath of fresh air, Trust by Paul Weitz will take you to surprisingly new places. Smoothly directed by Peter DuBois, Zach Braff, Bobby Cannavale, Sutton Foster and Ari Graynor turn this into a psychological game for four players that you won’t soon forget. It may even make you question some of your most deeply held beliefs.
Trust (through September 14)
The Second Stage, 305 W. 43rd Street, in Manhattan
For tickets, call 212- 246-4422 or http://www.2ST.com