Full Bloom

Ahh, adolescence. Is there any other time in anyone's life filled with more angst and emotion? It is a time of change and growth—what could be more dramatic? In Suzanne Bradbeer's aptly titled Full Bloom, fifteen-year-old Phoebe (named, she wants to believe, for the ever-changing moon) is blossoming into womanhood, and struggling with her new identity as an adult. As her relationship with her separated parents grows more distant, and her relationships with boys grow more complex, she is forced to come to terms with herself and the way the world sees her.

Full Bloom feels less like a play and more like a starting point for parent-child discussions, which isn't necessarily a bad thing. Ms. Bradbeer's script touches on many important and topical issues facing today's urban youth and their parents, and said issues should certainly be discussed. And, to Ms. Bradbeer's credit, the play does not feel like a maudlin and overly-simplistic after-school special. It does, however, and unfortunately, come across as somewhat awkward and unfinished—not entirely unlike Phoebe herself. Its directness will appeal to teens. Its lack of subtlety will make their more theatre-savvy parents roll their eyes.

But—and I rarely say this—forget the theatre-savvy. As unpolished as the play may be, it is exactly what families need to "open doors of communication," as the psychiatrists might say. Parents can learn about the issues affecting their teenage daughters. Sons can learn about how their treatment of girls makes them feel. And, perhaps most importantly, girls can learn that they are not alone in their violent, passionate, and often frustrating emotions, and start dealing with those emotions productively.

As Phoebe, Jennifer Blood is nicely appealing, adding layers to her character with intense body language. For example, she frequently folds her arms across her chest, creating a barrier between herself and the world—a common stance for teens. As her friend Jesse, William Jackson Harper steals every scene he is in, perfectly capturing both the general awkwardness of adolescence and the specific awkwardness of being smarter and more stable than one's peers. As Phoebe's mother Jane, a busy career woman recently traded in by her husband for a newer model, Jennifer Dorr White also adds more layers to the character than appear in the script, making the two-dimensional character poignant and sympathetic. As Phoebe and Jane's blue-collar neighbors, LeeAnne Hutchinson and Jason Furlani aptly expand on the plays themes and provide some excellent chemistry.

Linda Ames Key's direction sets the mood of the play well, but tends to drag along in some places. Michael Moore's simple set nicely conveys a good range of locations within Phoebe's home and mind.

For the right audience, Full Bloom can be an excellent way to begin important conversations, and to bring often-hidden feelings into the open. If for no other reason than that, every family with adolescents should certainly attend, and talk about what they've seen.

Full Bloom runs until April 2 at the Vital Theatre Company, 2162 Broadway. Call 212-352-3101 or visit www.vitaltheatre.org for tickets.