A community takes a revealing look at itself in world premiere from the New Group (photo by Monique Carboni)
The Acorn Theatre at Theatre Row
410 West 42nd St. between Ninth & Tenth Aves.
Through March 8, $25-$65
212-560-2183
www.thenewgroup.org
www.theatrerow.org
So what’s all the fuss about? Thomas Bradshaw’s latest play for the New Group, Intimacy, is a clever and comical, if occasionally cringeworthy, exploration of contemporary society that focuses on three families living in a close-knit, unidentified wealthy American suburb. James (Daniel Gerroll) found Jesus after his wife’s sudden death, retired from his successful Wall Street job, and is raising his eighteen-year-old son, Matthew (Austin Cauldwell), by himself. James has hired his neighbor Fred (David Anzuelo), an independent contractor, to renovate his house. Fred’s eighteen-year-old daughter, Sarah (Déa Julien), dreams of losing her virginity to Matthew on prom night. Meanwhile, Matthew, who wants to be a filmmaker instead of going to college, is spying on neighbor and fellow eighteen-year-old high schooler Janet (Ella Dershowitz), whose mother, Pat (Laura Esterman), talks to her extremely openly about sex and whose father, Jerry (Keith Randolph Smith), is a mild-mannered gentleman who wants only the best for his little girl. They gossip about who’s cheating on who, worry about school, argue over money, and share lawn tips. It might not quite be Peyton Place, but there’s nothing particularly strange or different about this community. But when one of the characters’ surprising sexual secret is exposed, a whole lot of other exposure follows.
A pair of fathers (Daniel Gerroll and Keith Randolph Smith) aren’t sure where things went wrong in Thomas Bradshaw’s INTIMACY (photo by Monique Carboni)
Bradshaw is no stranger to graphic portrayals of sex and violence onstage, as evidenced by such previous works as Burning for the New Group in 2011 and Job at the Flea in 2012. But with Intimacy, the sex and nudity — and there is plenty of both, including frottage, masturbation, footage of real sex, and expertly simulated acts that will have audiences wondering what’s actually going on right in front of them — are only a backdrop for a story about people’s fears and desires, their desperate need to connect with one another, and their deeply embedded addictions and overwhelming sense of shame and guilt. Bradshaw takes on religion, education, racism, the economy, personal privacy in the surveillance age, and other social and political mores in the show, skillfully directed by New Group founding artistic director Scott Elliott. Most of the characters are usually situated in Derek McLane’s suburban interior all at once, with Russell H. Champa’s lighting zeroing in on the specific action taking place on a couch, a bed, a video monitor, a toilet (which does indeed get used), and a desk where many of the characters watch porn and, well, take pleasure in it. And there’s a lot of pleasure being had, judging by all the erections and orgasms. The cast, featuring several members making their professional stage debuts, is, er, clearly having a ball with the edgy material, bravely going where few non-porn actors have gone before. So indeed, what’s all the fuss about? Intimacy is likely to catch people’s attention because of the overt naughtiness happening onstage — the production proudly announces, “This show contains nudity, sex, and bad language. Enjoy!” — but it deserves to get noticed more because it’s damn entertaining, erotic and titillating, realistic and absurd, and very, very funny, coming off as surprisingly natural despite the surreal turn it takes as the climax nears. As an added bonus, select seats in the first two rows are only $25, for those who want to get even more up close and personal with this revealing tale.
Based on Jordan Belfort’s 2007 memoir, The Wolf of Wall Street relates the rise and fall of a fast-talking, high-living stockbroker, played to the hilt by an impressive Leonardo DiCaprio. But Martin Scorsese’s picture, his fifth starring DiCaprio, has trouble walking that fine line between glorifying Belfort’s money, drugs, and women lifestyle and portraying him as a greedy con man who ransacked innocent people’s savings and ruined their lives. In 1987, Belfort gets a job working for rather strange LF Rothschild trader Mark Hanna (Matthew McConnaughey) and immediately gets a taste for the business; however, Black Monday strikes, and he soon finds himself selling penny stocks with a rag-tag group of losers out of a Long Island storefront run by a man named Dwayne (Spike Jonze). But he’s able to excel at the job, taking home big bucks and eventually opening his own firm, Stratton Oakmont, with right-hand man Donnie Azoff (Jonah Hill). Nearly instant success leads to endless partying, strippers, prostitutes, dwarf tossing, cocaine, ludes, and absurdly lavish expenses that enrage Belfort’s father, Max (a hysterical Rob Reiner), when he goes over the books. But nothing can stop Jordan and Donnie as they rake in the dough and do whatever they want, seemingly without consequence, even when the Feds, led by FBI agent Patrick Denham (Kyle Chandler), start sniffing around. Even when it does come crashing down, it still doesn’t seem to have too much of an effect on Belfort and his buddies, who keep feeling invincible.