Lungs Update

The Studio Lab's production of Lungs which I wrote about earlier comes across pretty much as billed, though it's not exactly a world premiere, but a rolling one with two other openings scheduled for the UK about this time. If it finds a later home, with a re-write and full design, think of it as a user-tested beta release, with some bugs to be worked out before final launch.

Under Aaron Posner's direction, the rapidly paced show flies past you like time-lapse photography. Lungs is a combination of both scene study - lots of hand movements and facial gestures - and stand-up comedy, with the beguiling Brooke Bloom doing her best version of a youngish and amped Joan Cusack. Her character (coyly named "W") possesses a blend of vulnerability and control - qualities that seem to appeal to today's audiences (as Studio's earlier Reasons to Be Pretty and Venus in Fur will attest). To say that "W" is high maintenance is an understatement: she's neediness personified. To that end she's hooked up with "M" played ambiguously by Ryan King who often serves as a comedy straight man. His performance is tougher to get a read on. Is he an enabler, wimp, or victim - tethered or yoked to his partner for life? (Or does this character need some work?) They definitely form a narcissistic twosome, but difficult to warm up to and even harder to watch.

The baby question (popped by "M") starts things rolling, which Ms. Brooke's hyperventilating "W" perseverates upon for extensive stretches of time. About a quarter of the play elapses as essentially a monologue - she supplies or anticipates her partner's replies. "W" also has the wearying habit of saying the opposite of what she means, then flipping the remark for comic effect. It works a few times but gets old pretty quickly.

The script plays like a sitcom; though occasionally humorous, it's a bit like a one-trick pony. After we've established the incompatibility and batted around the couple's fighting techniques - switching sides in arguments, dragging in their respective partner's parents, etc. - where does one go? The playwright, Duncan Macmillan takes them on an accelerated lifecycle which is stress-tested in the usual ways, and then it's on to a coda where the remaining 30-40 years unfold in several minutes. (I found the later developments, after the midpoint, which I must pass over, of interest and I thought that a new character or two might freshen the plot.)

Throughout, "W" & "M" attempt to allay their doubts and fears by invoking the phrase that they are "good people," listing lifestyle choices, all politically correct, like a mantra. At first I thought the playwright was being ironic; later, perhaps, just humorous. But for this generation, the sense of betrayal over unrealized expectations might be similar to preceding ones, where just working hard won't bring you your just rewards. It's hard though to muster any enthusiasm for whatever dreams these "good people" harbor. The world in which Robber Barons strode the earth like predators has given way to a society striving to leave the smallest carbon footprint. Here one longs for some middle road not taken.

Luciana Stetcconi's parquet flooring, with matching back wall, and four suspended flat-panel shades, lends a photo shoot flavor to Colin K. Bills' lighting. Farcical intro music of James Bigbee Garver establishes the mood. Adrien-Alice Hansel serves as the dramaturg.

The audience reaction, despite my misgivings, was generally positive. The youngish crowd laughed at the punch lines and seemed intrigued by the interactions. A few surprise twists drew appreciative "whoas" from the viewers. Loud applause and a standing "O" from many greeted the actors at curtain call. Younger theatergoers will find this play of interest and even some of the older ones. You can purchase tickets for as low as $16.50 (counting fees) from discount ticket services or twenty dollars at the door (slightly higher online). Scripts are available for purchase ($12.00) at the theater.