"The Michaels" at The Public Theater

The Michaels at The Public Theater

Score: C-

Playwright and director Richard Nelson has developed a well deserved reputation for writing and directing in an ultra-realistic style. During the Obama years, wrote two cycles of plays about liberal families struggling to survive in upstate New York. The charm of the first two multi-play cycles was the way Nelson wove social and political issues into the “life in the kitchen” of a collection of characters preparing a meal.  “The Michaels,” currently at the Public Theater is Nelson’s third portrayal of a family and friends in similar circumstances in a similar kitchen in a very similar ultra-realistic style.

Unfortunately, Nelson’s version of realism requires that his actors never project their speech making very difficult to hear what they are saying, particularly in theatre in the round, seemingly his favorite way to escape the seemingly unrealistic convention of a

“fourth wall.”   Last year, Nelson directed a highly acclaimed production of Chekov’s “Uncle Vanya.”  Sitting in the second row, it appeared to me that this might be a a fascinating interpretation, if only I could hear what the actors were saying (my ear doctor tells me my hearing remains normal).  In an interview, Nelson once said that its good for the audience to struggle to hear the actors - it makes them listen more carefully. 

Well, in “the Michaels,” the good news was I think I heard 75% of what the actors said.  Unfortunately, the bad news was I could hear 75% of what the actors said.  Once again we had a truly believable portrait of life (and, in this case, near-death) in the kitchen, but there was little substance.  Nelson substitutes dance for politics and social issues, focusing on a choreographer with stage 4 cancer and her family and friends.  While facing death is certainly a profound and worthwhile subject for drama, Nelson really does little more than give us an unfocused snapshot of an evening with those affected.  He seems to believe that realism is an end unto itself.  It’s like sitting in a Starbucks and listening to bits and pieces of the conversations by people at other tables. If that’s appealing to you, I’m sure you have a near-by coffee shop that’s cheaper and less demanding than two hours in a theatre.