THE HANGOVER REPORT – Jordan Harrison’s MARJORIE PRIME quietly and compellingly picks up where OUR TOWN left off

marjorie2There’s a wonderful scene in the third act of Thonton Wilder’s Our Town in which Emily, recently deceased, chooses to revisit a day in her childhood. She’s frustrated and saddened by what she experiences and solemnly decides to wait for what’s to come, even if it means letting go of her earthly existence. Fast forward 150 years from Wilder’s Grover’s Corners to a world in which technology has advanced to a point where humanity is able to resurrect loved ones to a frighteningly close proximity. This is the world conjured up by the slight but compelling new play currently running at Playwrights Horizons, Marjorie Prime – Jordan Harrison’s mesmerizing, somewhat opaque meditation on memory, loss, and the existential struggles and exaltation of the here and now. Mr. Harrison seems to argue that relying on memories for comfort is a futile exercise, and that our grim reality is our only guiding light. Scary stuff, this.

The talented director Anne Kauffman, who has been at the helm of some of the most compelling work Off-Broadway in recent years, coolly and objectively realizes Mr. Harrison’s universe to unsettling effect. Her production is impeccably brought to life by subtle, spot-on work from her design team (Laura Jellinek on sets, Jessica Pabst on costumes, Daniel Kluger on sound, and Ben Stanton on lighting). The eerie final tableaux that they create is one I won’t soon forget. As for the cast – they can’t be bettered. Each gives beautifully calibrated, lived-in performances that bring depth to Mr. Harrison’s sometimes vague dialogue. In particular, Lois Smith once again proves that she’s a treasure to cherish; she’s one of the smartest, courageous actresses working on the American stage today.

RECOMMENDED

 

MARJORIE PRIME
Off-Broadway, Play
Playwrights Horizons
1 hour, 20 minutes (without intermission)
Through January 24

Categories: Off-Broadway, Theater

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