Grangeville Off-Broadway Reviews

The play’s engine having finally turned over, it purrs confidently to the end, which includes a coup de théâtre reminiscent of the one in Hunter’s previous Signature outing, “A Case for the Existence of God.” Like that gorgeous play, too, it offers the idea of incremental hope to those whose lives would not seem to allow it. The trick, as Stacey learns from reading medieval history, is to find the freedom in that. There is no fate, Hunter argues, and his play demonstrates: just an infinity of second chances.

The stage of Grangeville is never flooded with light — Hunter’s characters never reach so complete a catharsis — but something does grow out of the darkness. Two men who began with an ocean between them now share a pool of light. It’s not nothing, and who knows how it may grow.

Slowly we learn what the issues are in “Grangeville,” the latest play by Samuel D. Hunter that is, much like his others, quiet, insightful, ultimately moving. If your relationship with a sibling is complicated – and whose isn’t? – it hits home. At the same time, though, the production, which opens tonight at Signature Theater, might require a little more work on the part of the audience, thanks to a few challenging choices by both Hunter and director Jack Serio.

Packing a nice surprise towards its conclusion, the play is crisply staged by Jack Serio, the director, within purposefully stark environs designed by the dots team that enable Stacey Derosier’s lovely lighting design to bridge continents and to overwhelm individuals in emotional shadows. Background sounds designed by Christopher Darbassie contribute to the production’s easy naturalness. Hunter’s conversational dialogue and Serio’s staging both invest Grangeville with a sense of forward movement even as much of its story recounts the characters’ past.

Arnold is firmly in control of the play, the situation, and his emotions; until, suddenly, he isn’t. Actor Brian J. Smith—who might be remembered for his Tony-nominated role of the Gentleman Caller in the Cherry Jones/Celia Keenan-Bolger production of The Glass Menagerie—offers a wonderfully shaded performance. Jerry, meanwhile, calls for a wide range of character-shading. Paul Sparks is so true in the initial scenes—during which the author seems to have painted an intentionally stereotyped picture—that his performance becomes almost startingly impressive as the 90-minute play progresses.

While the design team does much dramaturgical lifting, the acting is equally superb. Just when you think you’ve seen every vocal twang or behavioral quirk from the longtime secret weapon Paul Sparks, he whips up another virtuosic portrait of a damaged, complicated weirdo (they tend to be more country than urban).

There may be an art to living amid crushing struggles, a theme underscored by Arnold’s career. His breakthrough works are three-dimensional models inspired by memories of places he left behind in Grangeville: a Dairy Queen, a pawn shop, a tattoo parlor. Brace yourself for an ingenious scene that bridges past and present and blurs the line between real life and a diorama that hits close to home.