Thursday, March 31, 2011

Theater Review: Kin

Family Tree Branches Shade Many Relationships By Lauren Yarger Our roots give fruit to the relationships with people we call family, but the tree where we’re planted grows and extends its branches to entwine others we come to call kin. These ties that bind, and how they bundle us in kinship during life are the examination of Bathsheba Doran’s delightful, moving new play Kin running Off-Broadway at Playwrights Horizons, directed by Sam Gold. Played out on a Paul Steinberg’s cleverly designed, movable-frame set, Doran tells the story of a couple trying to figure out whether they are destined to become kin --through marriage -- with the help of people in their lives who already are family. Anna (Kristen Bush) and Sean (Patch Darragh) meet on an internet site and start dating. Back in his native Ireland, Sean’s mother, Linda (Suzanne Bertish), confesses to her brother and drinking partner Max (Bill Buell), that she’s not sure she wants her son to get serious because he might never come back home. If he won‘t come there, she might never see him again, because Linda doesn't leave her house. She has been agoraphobic since she was raped and shunned by the church after aborting the child conceived. Meanwhile, Anna’s zany best friend, Helena (an absolutely fabulous Laura Heisler), feels increasingly left out as Anna spends more time with Sean. Anna struggles to impress her father, Adam (Cotter Smith), a military colonel from whom she’s always been estranged who tries to reach out and make amends for not being there for Anna, especially after her mother died. He seems more at ease comforting his one-time mistress, Kay (Kit Flanagan), who is dying of cancer. Adding to the uncertainty of whether Anna and Sean will make it are his unresolved feelings for former girlfriend Rachel (Molly Ward). Rounding out the cast is Matthew Rauch in separate minor roles that cement a couple of very humorous scenes. Doran handles all of the relationships and situations with chuckles and insight. Most thought-provoking is how the characters interact with and learn from each other. Anna provides a new bud of friendship for Linda and helps her think about leaving the house. Adam and Sean develop a respect that’s closer than father/daughter. Flaky, self-centered Helena surprises by providing tough-as-bark friendship and Kay reveals a nest of affection for Anna. And in the middle of everything looms the question of whether Anna and Sean will ever become kin officially. Gold shines in his use of rain and fog in one scene and the placement of the characters in relation to them to paint a picture of the mood of this uncertainty. The sharp dialogue, engaging performances and expert storytelling make for a satisfying family gathering (Playwrights hits another one out of the park with play selection). Kin plays through April 3 at Playwrights Horizons, 416 West 42nd St., NYC. Tickets visit www.playwrightshorizons.org. Christians might also like to know: God’s name taken in vain Sexual dialogue Language Eastern Meditation

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Gracewell Prodiuctions

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Our reviews are professional reviews written without a religious bias. At the end of them, you can find a listing of language, content or theological issues that Christians might want to know about when deciding which shows to see.

** Mature indicates that the show has posted an advisory because of content. Usually this means I would recommend no one under the age of 16 attend.

Theater Critic Lauren Yarger

Theater Critic Lauren Yarger

My Bio

Lauren Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists. Her play concept, "From Reel to Real: The Jennifer O'Neill Story" was presented as part of the League of professional Theatre Women's Julia's reading Room Series in New York. Shifting from reviewing to producing, Yarger owns Gracewell Productions, which produced the Table Reading Series at the Palace Theater in Waterbury, CT. She trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Intensive and other training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run. She was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She wrote reviews of Broadway and Off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at http://reflectionsinthelight.blogspot.com/.

She is editor of The Connecticut Arts Connection (http://ctarts.blogspot.com), an award-winning website featuring theater and arts news for the state. She was a contributing editor for BroadwayWorld.com. She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for CurtainUp.com and as Connecticut and New York reviewer for American Theater Web.

She is a Co-Founder of the Connecticut Chapter of the League of Professional Theatre Women. She is a former vice president and voting member of The Drama Desk.

She is a freelance writer and playwright (member Dramatists Guild of America). She is a member if the The Outer Critics Circle (producer of the annual awards ceremony) and a member of The League of Professional Theatre Women, serving as Co-Founder of the Connecticut Chapter. Yarger was a book reviewer for Publishers Weekly A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts, the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.

Copyright

All material is copyright 2008- 2022 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact reflectionsinthelight@gmail.com

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Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.

Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.

Strong Language -- means some of the more heavy duty curse words are used.

Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.

Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.

Sexual Language -- means the dialogue contains sexually explicit language but there's no action.

Sexual Activity -- means a man and woman are performing sexual acts.

Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.

Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.

Homosexuality -- means this is in the show, but not physically depicted.

Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.

Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.

Cross Gender -- A man is playing a female part or a woman is playing a man's part.

Suggestive Dancing -- means dancing contains sexually suggestive moves.

Derogatory (category added Fall 2012) Language or circumstances where women or people of a certain race are referred to or treated in a negative and demeaning manner.

Other content matters such as torture, suicide, or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

Reviewing Policy

I receive free seats to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle. Journalistically, I provide an unbiased review and am under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about I will purchase a ticket. If a personal friend is involved in a production, I'll let you know, but it won't influence a review. If I feel there is a conflict, I won't review their portion of the production.

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