The Busy World Is Hushed: Mama, Don't Preach

"You'd be hard pressed to find a single word from the historical Jesus that condemns homosexuality. Any unpleasant rhetoric of that nature has been entirely invented by frightened bigots who need to make demons of their fellow men because they're too cowardly to confront the demons within their own souls."

So sayeth Hannah, the Episcopal Minister in Keith Bunin's The Busy World is Hushed who has such an inclusive, liberal interpretation of her faith she could probably get herself elected Pope of the Upper West Side. It's such a showy example of impassioned speech-writing subbing for natural dialogue, that by the time the actress playing the role got around to "frightened bigots" I began to seriously wonder if the audience was going to applaud at the end. (They didn't.) The actress in question is Jill Clayburgh, quickly becoming one of New York's busiest high-profile thespians with her third major production in less than a year. Though Bunin's script contains many intriguing thoughts and clever passages, particularly in the lighter and very entertaining first act, Clayburgh must often deal with stilted lines like, "The Bible is a self-contradictory, haphazardly edited compilation," which tend to get a little – yes, I'll say it – preachy.

Though she readily admits he is completely unqualified for the job, Hannah hires Brandt (Hamish Linklater), a shy and intelligent gay man, to assist her in writing a book translating and interpreting a rare, long-lost gospel. Just when you're wondering why the devil she changed the job description to suit his talents, in comes her gay son, Thomas (Luke MacFarlane), dirty, bloody and with porcupine quills sticking out of his leg.

Thomas tends to disappear for days, weeks, months at a time playing a game he calls "Get Lost," where he'll hitch a ride or take a train off to the middle of nowhere, with only enough food for a day, and see if he can find his way home. Hannah hopes the presence of the handsome Brandt may give him a reason to stay put.

The guys do bond over the similar tragedies which contributed to each one's decreased religious faith. Thomas never knew his father, as Hannah's husband drowned before he was born. Brandt's father is currently hospitalized, dying a slow death.

When Hannah's intentions and a family secret are revealed in the second act, the conflicts between mother, son and employee/boyfriend are meant to explode, but punch-less dialogue and unclear motivations kill any potential fire in the play's climax.

Director Mark Brokaw's very good production covers up much of the play's clunkiness with fleet and frisky staging. The comic expository scenes fare the best, with Linklater's dry delivery. He and MacFarlane make for a sexy pair during their more playful moments, with the latter's free-spirited Thomas taking charge. Clayburgh is very sympathetic as a mother who unsuccessfully depends on her faith to help her get through to her wandering son.

Allen Moyer's fine set, a roomy West 122nd Street apartment, is dominated by the organized clutter of hundreds of book and no shelves. Mary Louise Geiger's lights and Lewis Flinn's original music and sound design are both nicely atmospheric and Michael Krass delivers character-defining costumes.

The play's title comes from a prayer, which Brandt says is for the dutiful and weary. "It doesn't ask God for power or glory, just comfort and safety." Fortunately, playwright Brunin goes for something beyond comfort and safety, and despite its flaws the effort is admirable.

Photos by Joan Marcus: Top: Jill Clayburgh
Center: Hamish Linklater and Luke MacFarlane
Bottom: Jill Clayburgh, Luke MacFarlane and Hamish Linklater