THE BOX by Patrick Hamilton at Theater for the New City. THE TEMPTATION OF CONTAINMENT?

 THE BOX BY PATRICK HAMILTON. TOP HONORS--BEST PLAY, BEST DIRECTOR AT NEW YORK CITY THEATER FESTIVAL- THEATER FOR THE NEW CITY PRODUCTION 

Produced by Terry Nguyn and Patrick Hamilton, Executive Produced by Chelsea J. Smith and Darrell Shipley

What is gripping about this play? There's the fast direct open-ended plot with unexpected turns in the story. There's dynamic, yet subtle well-nuanced performances. The minimal set has maximum impact. Each piece's purpose is highlighted by the lighting and acting. I also like the TNC relaxed, funky atmosphere. This place has a heritage of putting on plays that matter. 

The subject of this play could not be timelier. In the production at TNC, I saw how the history and mindsets of these characters seem to mirror the bitter divisions in the U.S., where opposing visions are  vying for power.  It also amplifies the emotional gulf between men and women, trying to make their own more perfect unions.  

This is also the first play in years that perhaps unconsciously evokes Sam Shepard territory. Barely remembered for BURIED CHILD, which won the 1979 Pulitzer, and is linked with the Vietnam War, as well as The Tooth in Crime, Cowboy Mouth, Curse of the Starving Class and the one most akin to the BOX, True West.

And what am I talking about?  Here are ALICE (Chelsea J. Smith) and Stephen (Reese Grover) two students in love. There is the promise of a new way of life, maybe a family. STEPHEN is about to propose, a threatening possibility to her dad, CAL (Darrell Shipley) who injects himself into their intimate evening. His presence is unknown to the ecstatic future husband icing his champagne, readying himself to present an engagement ring to his intended--the culmination of a nurturing relationship.

As played by Reese Grover, STEPHEN is a kind of academic everyman. He's a believer in truth, as purpose and destination. He's tall, lanky with a mobile face, there's sensitivity and humor in his self-awareness of performing this ritual of "Popping the question." STEPHEN manages to be completely serious about this step. Yet there's an underlying fear in his movements and gestures, a prayer it will come off. He obviously loves ALICE, with a courage that strengthens him. This scene is fast and silent, except for objects moved around on and off his coffee table, a large white box, which seems to change with its contents. 

Then CAL, Darrell Shipley, Alice's father walks in like a commando with a gun and STEPHEN is dumbfounded. Naturally, a military professional like CAL is way ahead of STEPHEN having a dossier about his past and future prospects to prove him an unsatisfactory husband for his daughter. And the match is set, STEPHEN, who appears sensitive is not weak, he won't play by CAL's rules, his game.

When ALICE arrives, it appears he has won by losing? But there are many variations on what that means in this context and reversals. The rules of male power, the old ones, are about command of physical power and information that make victory certain. And ALICE has the same era mind-set of female values, her sexual attractiveness is a commodity a man must value and protect. Yet Stephen is about motivation, not tactics, hers and her father's. Hard to decide in this young couple, who let who down. Do women have responsibility if they sexily evoke male response?  And then are assaulted? 

Responsibility and truth are Stephen's weapons, in a modern world, where the old weapons and tactics are useful for containment and blowing things up. In the world of THE BOX, STEPHEN's cause may be just, but then does he succumb to the temptation of containment--in THE BOX? See the play and find out. 

S.W.