The Seven Year Disappear – Oedipal Risk
In 1944, psychologist B.F. Skinner created the “air crib,” a climate controlled environment for infants he hoped would lighten parental worries and protect a new baby. It was, in essence, an oversized metal box with a ceiling, three solid walls and a safety-glass pane at the front. Temperature was regulated, air filtered. Skinner’s second daughter, Deborah lived in this new crib for the first two years of her life. Can you imagine?
In the same way, artist Miriam (Cynthia Nixon) has always used her son Naphtali – whose name means “my struggle, my strife” (Taylor Trensch) – as the unwitting collaborator of conceptual creations. She, however, had no altruistic motivation. When he got old enough, Miriam conscripted him as her business manager. Call it an Oedipus Complex or co-dependency. His mother addresses the young man as “Boychick” admonishing him about keeping sober (he’s a recovering alcoholic) and HIV (he’s gay) with heavy handed regularity.
Naphtali never had a choice. Bred for the role, he grew up home-schooled, without friends, not knowing the name of his father. Only Wolfgang/Wolfie, a sympathetic, older dealer who was Miriam’s ex-manager/ lover as well, later, as Naphtali’s lover, offers support and perspective.
The video-centric, black and white set by Derek McLane features multiple, overlapping screens, chapter titles and moving type. Often we watch actors up front while close-ups play on screens behind. Extent sometimes overwhelms. Projection design (John Narun), lighting (Jeff Croiter) and sound design (Rob Milburn/Michael Bodeen- fans of Philip Glass) are in effective lock step. The two hander is played in sexless Helmut Langish black jumpsuits. (Qween Jean)
Miriam, who narcissistically considers the Whitney Museum her territory, is disparaging about and jealous of Marina Abramovic whose next piece is being presented there. “She thinks she’s the fucking mother of durational art!” In habitual wish to please, Naphtali counters (before it’s appropriate) that he’s secured a commission for his mother’s next piece from MOMA (The Museum of Modern Art). Miriam is thrilled. Like a salmon swimming upstream, nothing will prevent her from presenting something dazzling. She has six to seven months to plan.
On the night of MOMA’s formal announcement, Miriam disappears. Naphtali is shocked. Seven years pass. He hears nothing. A detective comes up blank. A lapse in sobriety and a lot of drugs ensue before he gets it together to pursue other choices. The young man signs on as LGBTQ liaison for Hillary Clinton, a replacement mother-figure, and struggles to find himself outside of mom’s influence.
The play unfolds in segments occurring before Miriam’s unexplained absence and consequences after return. Nixon assumes the guise of seven people. The trope is that Naphtali sees his mother everywhere, but it’s not always easy to tell whether the actor is playing Miriam or others at first. One utilizes glasses and an accent, one a hat, otherwise we’re on our own. When the artist finally deigns to appear – in 2016 – we learn her truancy was preface to the new piece. Dialogue is incendiary as she tries to convince her son to return to the fold. His repressed fears erupt. She’s obtusely incredulous. Confrontation is marvelous.
Authentic references – Abramovic, The Zwirner Gallery, Art Basel, museums – make the piece more real, though they arrive as cornerstones rather than sources of satire. The egotism of the art market and its frequent Emperor’s-New-Clothes presentations are clearly skewered, but it’s the mother/son relationship that rivets.
Taylor Trensch holds his own in this Cynthia Nixon vehicle. Love, admiration, anger, and need braid through dialogue. The actor is believable on drugs and drink; engrossing with Miriam whether sweet or battling for the character’s life.
Cynthia Nixon never becomes ancillary characters perhaps indicating Miriam’s omnipresence. The actor takes on just enough attribute to differentiate. As a sadistic “daddy” and a theater student manicurist, she seems other, as Wolfie – not so much. Nixon sinks her teeth into Miriam, however, creating a vainglorious monster worthy of Greek tragedy.
Scott Elliott directs mother and son interaction with sureness and finesse. Episodic meetings vary. Use of the crowded stage is excellent. Pacing spot on.
A call-out is due to deft work by fight/intimacy by Unkle Dave’s Fight-House.
Photos by Monique Carboni
The New Group presents
The Seven Year Disappear by Jordan Seavey
Directed by Scott Elliott
The Pershing Square Signature Center
480 West 42nd Street
Through March 31, 2024
