Review: TOO LITTLE TOO LATE At HERE Arts Center

Too Little Too Late is the first theatrical venture from Red Elevator Productions. Featuring original and premiere short plays from six of the most promising young writers on the New York theater scene, the show deals with the disconnections that we face in the modern world.

Too Little Too Late kicks off with "A Trip to Magic Island" by Bekah Brunstetter. Set in the woods, two old friends reunite for a day of swimming, bonding, and tripping on mushrooms. The actors (Laura Ramadei and Claire Siebers) sufficiently convey the looming awkwardness that develops when you reconnect with someoNe You have allowed to fall by the wayside; however, there is some element missing from the story. Brunsetter hints at the sadness and latent hostility each woman feels, but doesn't quite convey its depth. The usage of drugs to enhance honesty is usually an effective emotion-inducing crutch, but even in this intoxicated state the relationship between the women remains rather shallow and sad. Perhaps with a few more minutes it could have been flushed out a bit deeper. 

The second piece is titled "The Christmas Present" by Amy Herzog. Starring Craig Jorczak and Ann O'Donoghue, the work centers on the interaction between a couple that has just had a one-night stand. Funny, witty, and oddly touching, Herzog's dialogue ranges from STD scares to Jewish jokes, all dancing the line between alarming realism and utter delusion. The actors work very well together, balancing their morning after banter with genuine interest and attraction. 

The third short is called "Flagged as Inappropriate" by Sam Forman. In this piece two couples (Jacob Murphy, Anna O'Donoghue, Lara Ramadei, and Daniel Abeles) are hanging out inside a Bushwick loft and wind up having some small and uncomfortable squabbles. While focusing on the communication strains between couples and friends, Forman also comments on the twenty-something-hipster-Brooklyn cliches in a manner that is playful and humorous (and dead on). The short tapers off a bit awkwardly at the end and feels more like a moment in time than a full story, but sometimes a moment in time can be all the more interesting. 

"The Story of Little Sanchez and How We lost Our Mother" involves most of the cast (Siebers, O'Donoghue, Murphy, Ramadei, and Jorzak) playing the roles of siblings who are waiting for their mother. Each has a very distinct personality that the writer, Daniel Talbot, is able to establish within the first few minutes. However, we enter the conversation at an awkward point, and it takes the audienece several minutes just to figure out exactly what is going on. The siblings' joking borders on sexually inappropriate, (which is mildly unsettling) and makes it more difficult to realize that they are actually brothers and sisters. Still, once the drunken joking is put aside, the actors
are able to harness a realistic fear for both their surroundings and for their mother that stays with you after the lights go out. 

The fifth piece "The Sound In The Throat" by Elizabeth Meriwether was my favorite short. The story focuses on a couple (Murphy and Siebers) in bed, confronted with the problem of infidelity. In order to cope, the "Girl" (Siebers) takes on basic instincts and animal qualities, grunting and moving and even dressing up like a creature. This break from reality is evened out by the "Guy" (Murphy) who acts as the calm rational one, becoming as alarmed and bewildered as any man would if his girlfriend began to crawl around like a dog. Meriwether does a fantastic job at combining humor with that feeling of helplessness we have all faced at one point or another. Plus this short also had my favorite line "Sometimes when we have sex I think about you getting blown up." Can't get much better than that.

The last piece, called "Mommy Says I'm Pretty on the Insides" is pure fantasy, a big change-up from the other shorts. Written by Lucy Alibar, the story revolves around a young optimistic disfigured southern girl (O'Donoghue) who encounters and "heals" other characters on Confederate Memorial Day. Covering all of the southern stereotypes, the people she meets and interacts with (Ramadei, Jorczak, Siebers, and Abeles) alternate between being evil and just plain oblivious. At
first this final short seemed to be headed in a very dark direction but in actuality was the most uplifting of the group, proving that if you can keep a positive outlook on life then you are truly blessed. Ending on this piece was an excellent choice, and the only example of how miscommunication or misinterpretation can be a positive thing as long as you believe in yourself. 

Too Little Too Late is a perfect vehicle through which these talented young artists can flex their creativity and reach a fresh audience. Getting a chance to watch new talent grow in popularity and skill is always a wonderful experience, and there is no doubt that these six writers will be major players in the NYC theater scene. With direction by Portia Krieger and Moritz Von Stupelpnagel, each short is lively, funny, and enjoyable. The collection aptly showcases the issues that we face with communication in the modern age, and these problems are clear and relatable. Each work feels just long enough, which is one of the best parts of the show. The actors are open and funny, working well together and within the confines of their miscommunication.

The HERE Arts Center is a great, intimate theater (in which you can drink coffee or wine from the counter upstairs), and the perfect spot to check out works such as this. A ticket to Too Little Too Late is about the price of a cocktail, so it would be foolish to miss out on it.

The show runs through 3/14/2010 at HERE Arts Center 145 6th Ave (Bet Spring and Broome Streets) VISIT: www.toolittletoolateplays.com

TICKETS $12

FOR TICKETS VISIT:  WWW.HERE.ORG or call (212) 352 - 3101

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