Playwright Lindsey Ferrentino was inspired to write this piece by questions surrounding her Aunt Amy, born with Down Syndrome “during a time when medical professionals told my grandparents they had just given birth to a ‘Mongolian idiot’ who would never learn to read or write…” Like the character in her play, Amy was put into a state-funded institution where she surpassed presumptions, but was only visited by family on holidays and vacations. Ferrentino insisted than an actor with Down Syndrome play the role.
Jacob (Mark Blum) and Maggie (Debra Monk) have flown respectively from California and Chicago to bury their father on Staten Island. They bicker with some warmth, but it’s clear the two are not close. The familiar actors are low key, natural, and amusing; skilled with sympathetic banter and timing.
Debra Monk, Jamie Brewer, Mark Blum
On the way, the siblings pick up younger sister Amy (Jamie Brewer of American Horror Story – handily in command ) who’s spent her life in a succession of state institutions. The two still think of her as a child and show up with balloons. How will they break the news? How does one explain death to a challenged mind?
As their father legally turned over primary care – surprise! – Amy’s principal attendant must, they’re told, accompany her. So much for private family bonding. Fortunately, Kathy (a credible Vanessa Aspillaga) is warm, attentive, and intimately knows the young woman whom her brother and sister find a stranger. Surprise?! Kathy’s also loud, talkative, dutifully intrusive, and a bit too much of a cliché.
Amy is sufficiently functional to hold down a job at a local movie theater (chauffeured by the institution van) and acquire a boyfriend oddly named Nick Nolte. Though on the spectrum, she’s nowhere near as immature or oblivious as her relatives concluded. Neither, it seems, has spoken directly with her for years.
John McDermitt and Jamie Brewer
Growing up, every visit from the family entailed going to the movies – clearly a way to avoid talking. The only consistent thing in Amy’s life has been film. She peppers conversation with a remarkable array of applicable quotes and won’t be parted from a fully loaded laptop with headphones.
The above plays out in tandem with backstory scenes featuring two young people who turn out to be Maggie and Jake’s parents. Sarah (Diane Davis) is falling apart under the pressures of caring for a baby who’s diagnosed as hopeless, in addition to two other children and husband Bobby (Josh McDermitt).
It turns out that Amy’s real history is a far cry from the one Maggie and Jake imagined. The startling truth radically affects both feelings about their parents and their own consciences. Perspective adjusts with a deafening screech. Now what?
(Amy’s double entendre curtain speech of movie quotes cleverly gives her the last word – Guess that film!)
“…I have always depended on the kindness of strangers.
But no more.
I’m mad as hell and I’m not gonna take it anymore!!
I am serious.
Don’t call me Shirley.
Director Scott Ellis does a good, if not especially original job.
The writing is not as compelling as the subject matter.
Photos by Joan Marcus
Opening: Vanessa Aspillaga, Jamie Brewer, Debra Monk, Mark Blum
Roundabout Theatre Company presents
Amy and the Orphans by Lindsey Ferrentino
Directed by Scott Ellis
Laura Pels Theatre
111 West 46th Street
Through April 22, 2018
While I grant that culture depicted here is relatively unknown to me, I don’t for a minute attribute my opinion of the play’s success to novelty. Author Quiara Alegria Hudes’s detailed, multicultural characterization and unexpected plot lines make the bar setting an apt canvas rather than a cliché. There isn’t a false, pandering, or extra word. The piece is lively, humorous, dramatic and affecting.
Hudes, it should be noted, won a Pulitzer Prize for Water by the Spoonful and wrote the book for Lin-Manuel Miranda’s musical In the Heights. The latter was directed by Thomas Kail, responsible for both Hamilton and this new work.
Daphne’s North Philly Bar/Lounge is the kind of old fashioned, neighborhood watering hole patronized by family and odd ducks for whom the place is a second home. Sentences begun by one are finished by others, jokes are “in”, history is shared. Owned by its grounded, wry, Puerto-Rican namesake (Vanessa Aspillaga), as is the rundown building housing questionable tenants, Daphne’s welcomes a core of regulars including:
Vanessa Aspillaga and Matt Saldivar
Struggling artist, Pablo (Matt Saldivar), currently a dumpster-diver in service of paintings depicting the discard of people’s lives; Jenn (KK Moggie), a passionate and literally colorful activist with a self avowed ‘Messiah Complex,’; and, Rey (Gordon Joseph Weiss), a middle-aged, hippie motorcyclist who picks up physical labor to support his travels- though completely credible, the least well realized participant. Daphne’s sister Inez (Daphne Rubin-Vega), who married a community-minded, up-and-coming businessman and her husband Acosta (Carlos Gomez) are also omnipresent. These two are economically better off and geographically better situated, yet loyal and generous.
Vanessa Aspillaga and Samira Wiley
When an upstairs apartment is raided by police and DEA who cart off drugs, guns and its inhabitants, the tenants’ 11 year-old daughter, Ruby (Samira Wiley), jumps out a window. She’s found, bruised and cowering, behind the building. Daphne first shelters then reluctantly adopts the emotionally broken girl, but, in essence, Ruby acquires six parents. Over a period of 17 years, framed by the Ruby’s informing us how old she is at the start of each scene, fates, relationships, and some personalities radically alter.
Jenn, whom Ruby identifies as her only honest friend (Jenn has no boundaries), grows increasingly more radical and then unhinged in her attempts to raise awareness about the state of the world. Both Ruby and Daphne develop strong, unforseen bonds with her. Acosta rises in politics eventually yielding to proffered temptations, risking his marriage. Ruby becomes a smart, enthusiastic student, yet her underpinnings are shakier than what’s publicly apparent; she eventually makes a surprising choice. Painful secrets about Daphne and Inez indirectly relate to Ruby. Pablo achieves a kind of fame, yet stays his course. Rey is Rey.
Daphne Rubin-Vega and Vanessa Aspillaga
At an hour forty-five with no intermission, one never feels restless. Director Thomas Kail keeps flow consistent and smooth. Lights dim; evocative piano music by Michel Camilo is heard with such pristine clarity it seems to get inside one (Sound Design – Nevin Steinberg), an efficient swarm of stagehands adjust Donyale Werle’s splendid, weathered Set.
Physical acting adds insight. Pablo is graceful in his skin, while Jenn’s natural eurhythmy seems provoked. Daphne is always aware of gravity. Acosta carries himself with calm confidence. Inez moves in spurts. Ruby is defensive. Ray lolls. Kail serves a cast who knows how to listen, utilizing his staging area with authenticity and creativity. Small business illuminates, the creation of banners and tending to a symbolic plant work particularly well. A parentheses of dancing captivates.
Matt Saldivar, Samira Wiley, Carlos Gomez, Daphne Rubin-Vega, Gordon Joseph Weiss
Costume Design (and, one presumes, wigs) by Toni-Leslie James suit place, people, period, and status. Representation of Pablo’s artfully insouciant combinations and Jenn’s various off-the-wall ensembles is inspired.
Vanessa Aspillaga’s Daphne bears a palpable undercurrent of emotion and power that serves as ballast. When she briefly erupts later in the piece, disclosure has all the more effect.
KK Moggie first manifests Jenn as an insubstantial, well meaning spirit, then shepherds her evolution into someone obsessed. The actress might be a bit more frightening.
Carlos Gomez (Acosta) exudes sympathetic warmth and masculinity. Daphne Rubin-Vega (Inez), a thoroughly appealing Matt Saldivar (Pablo), and Gordon Joseph Weiss (Rey) feel completely genuine.
Samira Wiley’s Ruby is always sure the earth will open up beneath her feet. Wisely the actress delivers an unaffected 11 year-old. As the character grows to maturity, Wiley increasingly lets her inhabit her skin. This includes subtle signs of increased alcohol use and volatility. Well performed.
Photos by Joan Marcus
Opening: Gordon Joseph Weiss, Matt Saldivar, KK Moggie, Samira Wiley
Signature Theatre presents
Daphne’s Dive by Quiara Alegria Hudes
Directed by Thomas Kail
Romulus Linney Courtyard Theatre in The Pershing Square Signature Center
480 West 42nd Street
Through June 12, 2016