Will (Peter Mark Kendall) tries to make a connection with Alex (Ignacio Diaz-Silverio) in Signature revival of Samuel D. Hunter’s A Bright New Boise (photo by Joan Marcus)
A BRIGHT NEW BOISE
The Pershing Square Signature Center
The Irene Diamond Stage
480 West 42nd St. between Tenth & Eleventh Aves.
Tuesday-Sunday through March 19, $49-$139
212-244-7529
www.signaturetheatre.org
Samuel D. Hunter’s most recent play, one of the best of 2022, is called A Case for the Existence of God. The Signature revival of one of his first works, 2010’s A Bright New Boise, could be retitled A Case for the Nonexistence of God.
The Obie-winning show was originally presented at the Wild Project in September 2010, two years before Hobby Lobby sued the government to allow the privately owned arts and crafts chain to prevent its employee health care plan from covering contraception, on religious grounds. “The Green family’s religious beliefs forbid them from participating in, providing access to, paying for, training others to engage in, or otherwise supporting abortion-causing drugs and devices,” the company said in a statement at the time.
A Bright New Boise takes place in a clean, windowless, nondescript Hobby Lobby break room in Boise, Idaho. Wilson Chin’s coolly efficient set features several tables and chairs, a refrigerator, vending machines, a microwave, a sink, a bulletin board with rules and regulations, and lockers. A television is mounted on the wall next to the door, playing either invasive, up-close medical procedures (a result of a problem with a satellite dish) or a never-ending Hobby Lobby TV program in which two men in white lab coats mutter on unintelligibly about corporate policy, their constant low drone suggesting a form of brainwashing.
Will (Peter Mark Kendall) is interviewing with store manager Pauline (Eva Kaminsky) for an open position, but she’s concerned about a specific period that’s missing from his resume; he tells her that he had an inconsequential second job as a bookkeeper for a church but is clearly uneasy talking about it. It won’t be long before she finds out why.
The main reason Will wants to work at Hobby Lobby, which he does not tell Pauline, is to reconnect with his seventeen-year-old son, Alex (Ignacio Diaz-Silverio), who works summers there; Alex was given up for adoption shortly after birth, and he is not excited when Will blurts out that he’s his father. The next morning, Alex grills Will to make sure he’s not just some creepy stalker. Mentioning his adoptive parents, Alex says, “Yeah, well, they’re assholes. If you are my father, then fuck you, because you gave me to assholes.” Whenever Alex doesn’t like what Will says, he chimes in, “I’m gonna kill myself” but assures Will that it’s “nothing, it’s just something I say.”
A Bright New Boise takes place in the break room of a Hobby Lobby store in Idaho (photo by Joan Marcus)
Will tries to begin a relationship with Alex, but Alex’s older brother, Leroy (Angus O’Brien), is suspicious of Will. Leroy is a tough-talking artist who wears homemade T-shirts with threatening slogans intended to upset the soccer moms, grade school kids, and little old ladies who shop at Hobby Lobby. Because he is the only employee who actually knows anything about art supplies, he gets away with it.
Will soon develops a friendship with fellow employee Anna (Anna Baryshnikov); they surprise each other in the break room after hours on his first day, both having hid in the store after closing time. Will does it for the wi-fi so he can continue writing his blog about the rapture; Anna does it so she can read books at night, which she’s not allowed to do at home, where she lives with her parents.
Pauline, an F-bomb dropper who runs a tight ship, is proud of how she “brought order to chaos,” turning a failing store into a profit center, so she’s not about to let any kind of family dysfunction affect her success. But when the truth emerges about that gap in Will’s resume, Pauline battens down the hatches.
“So you still believe in God?” Pauline asks Will. “Yes,” he answers. “After all that?” she says. “Yes,” he repeats. “Why?” she prods. “You’ll see,” he promises.
Hunter (Greater Clements, The Whale) was inspired in part to write A Bright New Boise from his personal experience attending a nondenominational Christian school that taught fundamental evangelical dogma and working as a cashier at Walmart as well as a documentary he saw about Westboro Baptist Church leader Fred Phelps. The play takes on such issues as adoption (Hunter and his husband adopted a girl six years ago), unionization, rampant consumerism, and the separation between church and state without getting overtly political, but there’s an underlying theme of religion’s ever-growing role in modern society, from the government to the church to the individual as extremism seeks to become the norm. In 2010, when the show debuted, words such as Hobby Lobby and Westboro Baptist Church weren’t so immediately fraught with meaning, dividing people into opposing camps, so Hunter doesn’t need to add anything to the inherent controversies. Nor does he focus on the dichotomies of capitalism itself, which is its own religion, although lacking a supreme being.
Pauline (Eva Kaminsky) has a chat with her new employee, Will (Peter Mark Kendall), in A Bright New Boise (photo by Joan Marcus)
But no matter their religious affiliation or lack thereof, all the characters are suffering from a kind of isolation, seeking connection to release them from their stagnation and boredom. The break room can be seen as a sort of purgatory where everyone is trying to figure out what comes next, whether they realize it or not.
Adroitly directed by Oliver Butler (What the Constitution Means to Me, GNIT), who effectively builds the expanding tension in the break room, the hundred-minute play features a strong cast led by Kendall (Blue Ridge, Mercury Fur), who splendidly portrays how awkward and squeamish Will is in his own skin; Kendall, who starred in Hunter’s solo microplay Brick in Theatre for One’s “Déjà Vu” at the Signature last year, makes it hard to like Will even as we root for him to find his place in life.
Kaminsky (Harry Potter & the Cursed Child, Hunter’s The Few) provides much-needed comic relief as the dedicated foul-mouthed manager, Baryshnikov (Time and the Conways, chekhovOS /an experimental game/) brings a warm innocence to Anna, and Diaz-Silverio (John Proctor Is the Villain) and O’Brien make superb off-Broadway debuts as two very different brothers. Jen Schriever’s lighting and Christopher Darbassie’s sound design spark each new scene with a jolt.
However, A Bright New Boise doesn’t know how to finish. I anticipated the lights going out for the last time twice before they actually did. Hunter raises important questions throughout this deeply compelling drama, but like the existence of God himself, he could have left a few more answers open-ended.