Theater Review: The Call

Struggling to Wait for the Call -- and Confirmation that It's Really Life's Calling
By Lauren Yarger
Questions of race and motive come into play as a white couple seeks to adopt an African-American girl in Tanya Barfield’s thought-provoking play, The Call, running Off-Broadway at Playwrights Horizons.

After years of trying to have a baby, Annie (Kerry Butler) and Peter (Kelly AuCoin) decide to adopt. They hope for a child from Africa, where Peter and his late friend, David, had served in a the Peace Corps. David’s sister and Annie’s best friend, Rebecca (Eisa Davis), isn’t sure that’s a great idea. Rebecca and her new spouse, Drea (Crystal A. Dickinson) both wonder whether the white couple truly understands the complexities of raising a black child, Yes, Auntie Rebecca can help do her hair in African-American styles, but will Annie ever really understand how a black daughter feels? And is she recovered enough from the depression that paralyzed her after the failed attempts to have a child of her own?

The discussion continues over several visits by Rebecca and Drea to the couple’s metropolitan apartment where new neighbor, Alemu (Russell G. Jones), is overjoyed to hear the news that Annie and Peter will be adopting from his homeland of Africa. He has some things, like medical supplies, shoes and other luxury items that people in his native home need and he wants the couple to take them when they travel to pick up their daughter. Jumping into the adoption commitment, Annie converts her art studio into a nursery even while she gets an offer of her first show at a gallery. While there, she gets "the call" from the adoption agency.

Suddenly doubts overwhelm her, especially when the couple is offered a 4-year-old the agency is trying to pass off as the toddler Annie and Peter had agreed to consider instead of an infant. The hesitation causes strain in the marriage, in which Peter seems always to be criticizing his wife any way. Rebecca proves a supportive friend even through her doubts, but harsh words and questions about how David really died threaten the friendships as well as the possibility of adopting.

Barfield’s script raises a lot of issues in a natural way (she handles exposition extremely well). Characters are multi-layered and strongly portrayed under the direction of Leigh Silverman. Dickinson, in particular, is a hoot as the plain-speaking Drea.

Rachel Hauck’s set rotates on an unnecessary revolving stage. It seems a bit overdone to take us from the living room to the nursery, for example, when other scenes are depicted simply. There’s also a dog park where Annie and Alemu meet on a bench and the art gallery opening is staged by rolling in a cart of wine glasses.

The Call has been extended through May 26 at Playwrights Horizons, 416 West 42nd St., NYC (between Ninth & Tenth avenues).

The performance schedule is Tuesdays through Fridays at 7:30 pm, Saturdays at 2 and 7:30 pm and Sundays at 2 and 7 pm with additional Wednesday matinee performances on April 24 and May 1 at 2 pm. Tickets: www.TicketCentral.com;  212-279-4200. HOTtix, $25 rush tickets, subject to availability, day of performance only, starting one hour before showtime to patrons aged 30 and under. Proof of age required. One ticket per person, per purchase.

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