Reviewed by Kenneth Laboy
From the moment Not Even the Good Things starts one can appreciate the level of craft behind this production.
The lighting design of Alexander Le Vaillant Freer successfully sets the atmosphere from the start as the audience follows a single candle, and deftly carries the viewer through the many changes in mood that the play calls for. It is through Freer’s work that the production displays the elements of horror since the play itself downplays these in favor of creating a disconnect between the audience and the players. The irony effectively creates the sense of danger that wouldn’t exist if these elements were in conjunction.
And then, the actors enter the stage. The ensemble has no weak points. As actors they are always present, always saying something even when silent. The most complicated characters, the ones with the most decisive arcs are the first we meet Grace and Bill, played by Victoria Janicki and Sea McHale respectively. The other characters serve as foils to them. Coming into the stage to challenge them in different ways. And these two actors take the material given with assured confidence. Their performances anchor the show.
Those performances exist because writer Joseph Scott Ford has crafted an exciting blend of humor and pathos that lets these actors be electrifying on stage. He transitions through the emotional beats impeccably. And his dialogue is delightfully heavy with the unsaid, with the implied. Ford is at his best when focusing on these relationships and the specificity they carry. His instinct for what is most emotionally resonant never fails. That being said-
As a narrative, it lacks forward momentum. While the interactions are interesting, dynamic and well-crafted, the stakes aren’t raised as the play progresses. This takes away from the moment of catharsis at the end, because it was reached without a climax. Adding to this is the fact that the last beat of Bill’s arc arrives through a conversation between Jackie and him- a relationship that had been given little weight prior to this. The play’s haunting is mostly left at the periphery of the action and so Bill’s grief, though it bookends the play, and is the foundation of the thematic through-line, is never explored enough to justify it’s being the center of the narrative.
This problem is heightened by the challenges of the theater space. The set and the audience exist in very close proximity to each other making it difficult to follow anything that was staged too far downstage or on the floor. Because the set is small and there is no less than five actors on stage at times, director Kelsey Claire needed to use these areas to create a variety of stage pictures. For example, because the play heightens the mundane and the specter of “The girl” was placed on the floor for most of it, one forgot about her haunting for lengthy periods of time. Because that haunting seems to be a personification of Bill’s grief, and everything else happening on stage was so interesting, it was easy to dismiss his grief as well.
The final product has its flaws, but it is also immensely enjoyable. The choices made by this team of artists are incredibly strong from start to finish. One must thank Ford, for what was clearly a labor of love, and Claire for leading an impressive team of artists to create a thoroughly entertaining, at times rambunctious, piece of art, one that keeps you thinking once the lights go down.
Not Even the Good Things plays now through Saturday, July 27th in the Studio Theatre at Theatre Row 410 W 42st
Tickets can be bought for $35 at