REVIEW: Spin (Theater Wit)

Theater Wit opens new space on a dark note

 

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Theater Wit presents
 
Spin
 
By Penny Penniston
Directed by
Jeremy Wechsler
Theater Wit, 1229 W. Belmont Ave. (map)
Thru June 5  |  Tickets: $25 (suggested donation) |  more info

Reviewed by Leah A. Zeldes

"I know you’re watching."

That phrase repeats over and over again in smart new play, Spin, as characters break the fourth wall and address the audience in a series of creepy monologues that compel us to consider life as art and everything we do as theater.

Wit_Spin_9_72dpi The solidly acted and impeccably staged world premiere by Penny Penniston, directed by her husband, Jeremy Wechsler, inaugurates Theater Wit’s terrific new Lakeview home. Theater Wit confusingly calls this somewhat murky black comedy, Penniston’s first play since the 2000 time-travel romance now then again, a "modern-day farce." It’s often funny and sometimes absurd, but don’t expect slamming doors, mixed-up bedrooms, mistaken identities or lightweight humor.

Set in a modern bachelor pad, designed by Jack Magaw, that effectively illustrates what one character describes as a "Pier One explosion," Spin follows Brent, a 40-ish advertising creative in mid-life crisis. Played by Coburn Goss in an Alan Alda-ish vein, Brent’s out of work, recently divorced and questioning the reality of his life. He also has the hots for a gorgeous, teenage homeless girl whom he’s just "rescued" from a fight with her would-be radical boyfriend.

Meanwhile, ex-colleague and old friend Redge, now heading his own agency, recruits Brent for a beer campaign. Joe Foust gives the soulless Redge just the right level of slime. They bring in self-made sports figure Ruby Jones (a cross between Michael Jordan and Tiger Woods) — the slightly stiff Austin Talley – as a spokesman, and create a campaign aimed at a demographic oddly like Brent himself. But an unfortunate viral video and Brent’s unraveling self-image intervene.

The murkiness comes in most strongly with the troubling Lolita-like character of the homeless teenager, Danielle. Is she opportunistic or exploited? Alice Wedoff’s diffident portrayal leaves us guessing, and the role just gets ickier as the play progresses.

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Danielle’s boyfriend, Aaron (played with puppyish avidity by Michael Kessler) relies on her to feed his ego. Brent deludes himself into thinking she’s 19, when she’s really much younger. Redge takes out-and-out advantage.

She adds little to the play’s themes other than shock factor, though, and it would be a far funnier comedy without her, and particularly without her Act II monologue. Although they address interesting concepts, the introspective monologues obscure the humor generally — and sometimes feel like add-ons meant to stretch a one-act play into a full-length show.

Yet when the dialogue pokes fun at modern memes and 21st-century life, this comedy shines. Lance Baker’s wonderfully understated performance as Jack, a dry-witted account executive offhandedly commenting on the action, forms the highlight of the play. Elements like these overcome the tired tropes of crazy creative, materialistic ad man, impractical idealist and avaricious slut, and make Spin well worth watching.

 
 
Rating: ★★★
 
 

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One Response

  1. […] Venue license. Wechsler expects it in mid- May; for now, Wit is running its inaugural play, Spin (our review ★★★), on a "suggested donations" basis. Valet parking isn’t in place yet, […]

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