It’s the holiday season for the Dahl family! The four adult children return to their childhood home with partners in tow. The Dahl traditions include singing carols in harmony at the drop of a hat, but the gathering is anything but harmonious. Old conflicts resurface, new issues battled, and dinner is taking absolutely forever to be served. Will the love the Dahls have for each other be enough to get them through, or will this be their last Christmas together?
Director Trip Cullman orchestrates some nice moments throughout, assisted by the sometimes cinematic lighting by Heather Gilbert in quieter night-time tableaux. But Headland’s writing lets him down in some of the more explosive scenes, where characters devolve into shouting obscenities (“Shut the fuck up!”) rather than arguing in ways that deepen our understanding of these characters or their backstories. We’ve seen reunions like this before, in tighter, better-written shows like Tracy Letts’s August: Osage County and Branden Jacobs-Jenkins’s Appropriate. All too often here, though, we’re stuck in an in-between world that neither quite grounded in comedy or tragedy — a liminal space like the wardrobe through which you enter Narnia (a magical land that the Dahl family members invoke more than once).
Helmed by Headland’s go-to collaborator Trip Cullman—who also directed Assistance (inspired by the playwright’s years working for Harvey Weinstein at Miramax), the deliciously bawdy Bachelorette, and the 2016 psychodrama The Layover—Cult of Love couldn’t be better timed: As we’re all agonizing over our own impending holiday family gatherings, there’s nothing more comforting than watching other people’s messed-up relatives tear each other to pieces, especially when there’s a prescription painkiller involved. Now will someone please bring us some figgy pudding?
2024 | Broadway | Second Stage Theatre Broadway Production Broadway |
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