Joel Drake Johnson is a Chicago-based writer whose potent play The Fall to Earth just completed a limited run at 59E59, a dazzling three-stage complex on 59th Street between Madison and Park Avenue.
"The Fall" began life at Chicago's esteemed Steppenwolf Theater before its 59E59 engagement. Presented here by a local troupe named InProximity Theatre Company, the play is a compelling three-character play about a mother and her adult daughter who travel to an undisclosed location to identify the remains of their late son/brother.
The cast features stage vet Deborah Hedwall and InProximity member Jolie Curtsinger as the survivors, while Tony nominee Amelia Campbell rounds out the cast as a local police officer familiar with Kenny, the dearly departed. Joe Brancato directs with an able hand and this little play that could has just announced a production in Los Angeles.
While I enjoyed the final performance on Sunday, I was not sniffling like a number of audience members were. A few moments seemed a bit forced, and thus pulled me out of the play when I wanted to be drawn in. The story is intriguing for what is evident, as well as for what is revealed in the course of the play. The scenic design is clever, as it features a seamless transition from hotel room to police precinct with aplomb.
The elements were largely in place for a cathartic experience, yet I found a bit of murkiness somewhere between the exposition, direction, and acting. In particular, Hedwall's narcissistic mother's trajectory from bumpkin to abuser is not altogether organic. An undeniably powerful actor, she seemed a bit forced as the unsympathetic details of her relationship with her late son emerge late in the play. More consistent is the work of Curstinger, who captures the veiled air of tolerance many adult children feel towards their flawed parents.
As for Campbell's police officer, her work is likewise potent, and her character's limitations are both captivating to watch, and pivotal in the development of the plot. There are a few awkward moments in the play that seemed to come across as confusing, moreso than the playwright seemed to intend. In particular, there is a scene where Campbell unexpectedly visits Hedwall's hotel room with groceries, and is lured into staying for dinner. It's hard not to imagine how this scene could have played out had the actors been directed to play awkward instead of seeming confused.
In all, a very sturdy play given a belated, worthy production here in New York. I suspect that had the characters been more readily identifiable New York types, the play might have enjoyed an extended run. Joel Drake Johnson is certainly a playwright to watch. Let's hope his next local production enjoys a lengthier run.
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