Review Roundup: Critics Sound Off On Geffen Playhouse's POWER OF SAIL

Geffen Playhouse is presenting Power of Sail, written by Paul Grellong, and directed by Weyni Mengesha. Now on stage through March 20th, Power of Sail features Hugo Armstrong, Amy Brenneman, Bryan Cranston, Donna Simone Johnson, Tedra Millan, Seth Numrich and Brandon Scott.

Distinguished Harvard professor Charles Nichols (Emmy & Tony Award winner Bryan Cranston) finds himself in hot water after inviting an incendiary white nationalist to speak at his annual symposium. His colleagues are concerned, his students are in revolt, but Charles is undeterred in his plot to expose and academically thrash his invited guest. This profoundly relevant new play by Paul Grellong (The Boys, Manuscript) examines the insidiousness of hate disguised as free speech and the question of who ultimately pays the price.

Tickets currently priced at $30.00 - $149.00. Available in person at The Geffen Playhouse box office, by phone at 310.208.2028 or online at www.geffenplayhouse.org. Fees may apply.

Let's see what the critics have to say!

Charles Mcnulty, Los Angeles Times: The production, under the direction of Weyni Mengesha, wastes an enviable cast (that includes Amy Brenneman) on a play that's part position paper, part political mystery. Rachel Myers' set conjures an Ivy League dream of book-lined shelves and Gothic archways, but the dramatic world is built on shadows.

Janice Yun, Daily Bruin: With a gripping, emotional performance by Cranston as Charles deals with the repercussions of his ignorance, "Power of Sail" examines the dangers of leaving privilege unchecked. By telling the story of a man who seeks to do good on his own terms - something many might be able to empathize with - the play leaves audiences to question and ponder their own positions of power. Reflective and rich in thought-inspiring dialogue, "Power of Sail" is a story that's bound to challenge viewers of all ages and backgrounds.

Alan Koolik, Theaterly: Shouldering most of the burden in this play is Cranston, who is on stage through the majority of the action. With a range that fans of his stage work are likely accustomed to, he deftly maneuvers through the character's emotional turmoil while maintaining deep secrets that the play's other characters must elicit. Cranston elucidates the material in a way that only a veteran like himself can, bringing out the best from the script and focusing the audience's attention on the play's critical elements.

Deborah Klugman, Stage Raw: The ensemble's other bright light, besides Cranston and Scott, is the scene-stealing Hugo Armstrong as Frank, the bartender in the dive the alcoholic Charles frequents. Frank and Charles share a passion for sailing (Indeed, the play's title references a maritime term for a boat without engine that travels by power of sail and hence is given courteous right-of-way by boats that have them. It's a crucial metaphor for extremist movements that demand deference from mainstream voices because they are ostensibly smaller and weaker.) In his brief appearance, Armstrong not only affords us the heartiest laugh of the evening but conveys in his person the ambiguous shadows that prey on our freedom.

Marc Wheeler, Stage and Cinema: On a positive note, the cast, by and large, is fantastic. In addition to terrific performances by Cranston and Brenneman, Tedra Millan and Seth Numrich play perfectly layered foils to each other as PhD students with opposing points of view. Brandon Scott plays a celebrity author with traits emblematic of real-life "anti-racist" authors Robin DiAngelo and Ibram X. Kendi. Hugo Armstrong, in the swirl of chaos, brings much-needed comic relief to the work as the bartender. Grounding all of these players to a common space, Rachel Myers deserves praise. Her revolving set design is intricate and gorgeous, moving us from college campus to the real world orbiting it.

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