Review: THE GRADIENT at The Catherine B. Berges Theatre At COCA

A cocktail of bad bosses, allegations, accountability, and the desire for second chances are shaken and stirred in the Repertory Theatre of St. Louis' world premiere of The Gradient, a satirical look at the concept of rehabilitation and forgiveness in an age of instant gratification.

Written by Steph Del Rosso, an award-winning playwright, fiction, film, and television writer, educator, and organizer. A force of nature who never backs away from confrontation, she uses comedy as a vehicle to emphasize important social issues.

In The Gradient, her comedy as catharsis formula is augmented a realistic conversation about how the culture of male misconduct is often tolerated or glossed over without any real consequences for the perpetrators.

Armed with satire, her latest work is set in the not-so-distant future at a start-up that uses unique algorithms to rehabilitate men who have committed acts of sexual misconduct. Clean and clinical, The Gradient's efforts to mass-produce forgiveness appear to be working on its former residents who now claim to walk the straight and narrow.

Enter Tess, an intelligent and ambitious woman looking to make a difference in her dream job. Following a messy breakup, she has packed up her belongings and moved to the West Coast. However, despite her go-getter attitude and steely determination, she becomes frustrated by her inability to connect with her boss, Natalia, and adjust to living alone in a new city.

Luckily for her, the tedium of logging sessions and filing reports is broken up by Louis, a colleague who shows her the ropes and helps her feel less isolated as she settles in. With Natalia offering little encouragement, his experience with the ins and outs of the operation is invaluable as she navigates patient sessions that range from confrontational to the bizarre.

Skilled at getting her patients to change their attitudes and improve themselves, Tess Is quickly flustered by patient 5247, a wealthy entrepreneur whose rehabilitation seems insincere. Charming, cunning, and convivial, he pushes all of her buttons, causing her to doubt her abilities. Is he faking? Has he figured out how to say all the right things? Has he devised a way to make the algorithm respond to his answers? Whatever is going, on Tess isn't buying it as she pushes him to discover his motives.

Despite the insistence that he is rehabilitated and ready to go, Tess is not so sure. As their sessions become more intense and philosophical, she becomes even more convinced that his motives are suspect. Unfortunately, Tess accidentally lets her guard down, accidentally revealing that 5247 is named Jackson. This slip of the tongue marks a turning point in their interactions as their relationship moves from professional to personal. With that barrier broken, Tess becomes further frustrated with her work.

Looking for answers, she again turns to Natalia for advice. Idolized by Tess for her research, she offers little help. Determined to keep the patients coming in, getting processed, and placed back into society, Natalia is a walking sales pitch, unable to form any real connections with her patients or staff.

With her gut telling her that Jackson's recovery is a sham, Tess begins to struggle with her career and her role as an independent woman fighting to change men's vile behavior. Normally resolute and reserved, she questions her abilities and the nature of the work, causing her to have a dramatic meltdown.

Brimming with talented actors, The Gradient features the luminous Stephane Machado as Tess. Yousof Sultani (Jackson) keeps audiences guessing his true intentions. Christina Acosta Robinson's Natalia is a curious blend of savvy pitch person, corporate higher-up, and savvy businesswoman.

Helping to ease the tension is William DeMeritt as Louis. Funny, spirited, and loyal, he provides the perfect accomplice for Tess's journey. Also providing some comedic relief is Stephen Cefalu as eight of Tess's patients. His rapid-fire transformation between these odd characters is sheer delight.

Projections, voiceovers, and fake infomercials help create an uncomfortably sterile setting for this provocative production which presents a sharp examination of relationships in a superficial culture. Its satirical tone also emphasizes the importance of addressing issues of sexual misconduct and finding personal happiness. As a result, The Gradient is a charged drama that offers a searing indictment on misogyny while exploring the need for career satisfaction and personal happiness.

How To Get Tickets

The Gradient runs through October 24th at the Catherine B. Berges Theatre at COCA. For more information, visit www.repstl.org.

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