Review: Thomas Bradshaw's FULFILLMENT at American Theater Company Compellingly Examines What It Means to 'Have it All'

What does it mean to have agency over our lives and those around us? And what happens when we're unable to fully grasp that which intrinsically controls us? With direction by Ethan McSweeny, Thomas Bradshaw's world premiere play FULFILLMENT, in a co-production with The Flea Theater of New York City, boldly examines this theme of agency and the quest to live a "successful" life. This compelling construct makes for an intense, often uncomfortable, and extremely provocative 90 minutes on the stage.

Bradshaw presents that insatiable desire to have it all through the lens of central character Michael (a commanding yet vulnerable Stephen Conrad Moore), a successful black lawyer on the cusp of purchasing a prime condo in New York City's SoHo neighborhood. The catch? After nearly a decade at the law firm, Michael has yet to make partner. When his co-worker and lover Sarah (a bone-chilling and deliciously intense Erin Barlow) suggests that he may be experiencing racial discrimination, Michael confronts his boss, Mark (Scott Olson). Michael must subsequently grapple with the real reason that his career remains stagnant, which ignites his pursuit of control over all aspects of his life. In addition to other extrinsic obstacles--such as his disruptive new neighbor Ted (Jeff Trainor)--Michael must decide if he can defeat his own intrinsic issues to arrive at fulfillment. But as written by Bradshaw, it appears Michael may not have enough self-awareness to recognize the biggest problem in his way.

FULFILLMENT is at its best when exploring the tension between Michael's incessant need for control and the aspects of his life over which will never be able to gain agency. Adding to the mix is Sarah's insistence that a better attitude is to "live and let live"--and she has the chanting techniques to help achieve that mental state, learned from her meditation leader, Leonard (a hilarious turn from Trainor). By play's end, though, we learn that Sarah's belief in karma may be more twisted than originally presented--which makes her attitude towards Michael all the more intriguing. The endearing Simon (Jason Bradley), Michael's best friend, remains inevitably caught between the two--which makes for some of the play's funniest, and later, darkest, sequences.

Bradshaw also has a true flare for dialogue--the conversations in FULFILLMENT flow naturally, even when the topics of discussion are considerably heightened relative to everyday life. That said, some of the potential in Bradshaw's high-concept play remains untapped, and some loose narrative threads could be tightened. In particular, the tone of the play sometimes feels discordant. While a dark, uncomfortable atmosphere pervades FULFILLMENT, some of the scenes steer a bit too much on the comedic side--and the play bounces back and forth between the humorous and the darkly intense.

And while much of the darker content in FULFILLMENT gives the play its staying power, some of the material feels too overtly provocative. FULFILLMENT has a great deal of sexual content. And while that feels warranted, it comes with gratuitous nudity (the production even has a sex choreographer, Yehuda Duenyas). While Michael and Sarah's relationship forms a core component of FULFILLMENT, the emotional and intellectual dynamic feels more compelling than the physical one--and Bradshaw would do well to sharpen the focus on this.

American Theater Company's production of FULFILLMENT employs some clever devices to reinforce Bradshaw's central themes. Mikhail Fiksel and Miles Polaski's artful sound design clearly alludes to the unconscious, pervading thoughts from which Michael cannot escape--and Fiksel's original compositions help give the production a sleek, urban vibe. Brian Sidney Bembridge's set design gives the actors ample open space and allows for the incorporation of a number of props, and his lighting design hints at the ominous atmosphere that hovers over the play--and Michael's life.

FULFILLMENT makes for a thought-provoking and powerful evening at the theater--and Bradshaw nicely examines the overarching theme of what it means to be satisfied and successful in our lives--and the cost of achieving that goal.

FULFILLMENT plays at American Theater Company, 1909 West Byron Street, through December 13. Tickets are $38-$48 and can be purchased at ATCWeb.org or by calling 773-409-4125.

Photo Credit: Michael Brosilow

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