Quick Hit Theater Review: The Flick

The Flick
By Annie Baker
Directed by Sam Gold
Playwrights Horizons

What's it All About?
Three workers at The Flick, one of the last 35mm movie theaters in Worcester County, MA, get to know each other a little -- and maybe not very much -- as they interact before and after the films show at the run-down theater. Sam (Matthew Maher) has been a round a while and is a little resentful that Rose (Louisa Krause) got promoted to projectionist, though she hasn't worked there very long. He shows the ropes about how to clean up popcorn, mop the floors, etc. to reserved new employee Avery (Aaron Clifton Moten).

Sam and Rose convince a reluctant Avery to join them in a ticket-shaving scheme that results in their being able to take home a few extra dollars each shift without the boss knowing about it. The three start to open up with each other a little over the weeks. Sam obviously has romantic feelings for Rose, but she is more interested in old movie buff Avery, who has an amazing ability to link films and their stars in six degrees of separation or less. Alex Hanna plays a couple of other minor characters who end up in the theater.

Questions are raised about the likelihood of getting close to people with whom we work -- or with anyone at all for that matter. How well do we really know a person, even if we see them every day? What about when someone's sense of right and wrong is totally messed up (like in the case of Rose). Everyone has a hidden side that might reveal surprising insight into motivations.

What are the Highlights?
Moten is a character study in privacy and insecurity. His almost smile as he struggles to remain in control, or to politely show appreciation for something he himself doesn't find humorous is brilliant. Lighting design by Jane Cox deserves mention. It really looks like a movie is showing thanks to the movie-seat set by David Zinn (who also designs costumes) and end-of-the-movie sound by Bray Poor.

What are the Lowlights?
The script is full of repetition and scenes that come to a virtual standstill as we watch the characters perform prolonged routine tasks. I get it. That's what happens in real life, but this is theater, and an hour easily could be trimmed from Baker's almost three-hour long script (there s one intermission). Director Sam Gold also collaborated on her plays Circle Mirror Transformation (also at Playwrights) The Aliens, as well as Baker's adaptation of Uncle Vanya. He obviously loves her stuff and indulges every word and every pause that every character has. It's kind of like visiting friends who want to show you every baby picture they have taken, assuming that you are just as interested in seeing 200 pictures of their child eating his birthday cake from every possible angle as they are. The first scene is quite possibly the most boring in theater history -- unless, of course, if you happen to be a big fan of every pause written into a script.

Characters never develop enough for us to decide whether we like them or not. At times, it is difficult to understand Maher's dialogue.

More Information:
The Flick runs through March 31 at Playwrights Horizons, 416 West 42nd St., NYC. The performance schedule is Tuesdays and Wednesdays at 7 pm, Thursdays and Fridays at 8 pm, Saturdays at 2:30 and 8 pm and Sundays at 2:30 and 7:30 PM. Single tickets, starting at $70: www.TicketCentral.com, 212- 279-4200; Box Office, 416 West 42nd St. (between 9th and 10th avenues. 
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Content includes:
-- Sexual dialogue and activity
-- Language
-- Astrology
-- God's name taken in vain
-- Suicide
-- Homosexuality