Posted: 10/3/15 at 11:41pm
re: The Title
Richard (the boyfriend) explains that he's obsessed with a comic about monster aliens who sit around telling stories about "The Humans"
and yeah Roundabout has produced 3 excellent Karam plays off broadway why don't they have enough faith to give him his broadway debut, so frustrating.
Posted: 10/3/15 at 11:53pm
Not sure if that was directed at me, but yeah, I get the name of the play. What I'm saying isn't I'm not sure it was all that supernatural, but again, I didn't find John to be all that compelling either - again, the central couple wasn't interesting at all.
Posted: 10/4/15 at 1:53am
A real stinker of a play that moves as swiftly, excitingly, and engagingly as a traffic jam on an industrial highway polluted with exhaust fumes and refinery smoke.
It offers recurrent descriptions of nightmares. Quite fitting, since the play itself is a nightmare to sit through --- inert, inept, willfully grotesque, and overwhelmingly, stupefyingly dull. As occurs frequently nowadays, it doesn't know how or when to end. In this instance, though, that's a minor problem. The major one is that it ever began.
Posted: 10/4/15 at 9:24am
Thank you After Eight for saying what I thought... this play went nowhere and did nothing. It was a series of family reveals and then every revelation dropped like smelly poo. Someone here praised it as a plotless play; I'll call it a plotless play as in WTF? Where was the drama? There was some snappy dialogue and Jane and Reed nailed their bits, but there was no story, no drama, the "spookiness" was random slamming and banging behind the set... yes, we will all jump in our chairs if you emit a loud crash backstage during an otherwise quiet moment... that's not spooky/dramtic, it could have been a teamster dropping a 2x4.I missed Speech and Debate and was very excited to see this writers work.. I left very disappointed.
Posted: 10/5/15 at 12:31pm
I saw this over the weekend and I'm pretty mixed. I'll start by saying that I LOVE Stephen Karam and SPEECH & DEBATE is my favorite play. I just don't think this measures up to his previous efforts. I do plan on revisiting the play later on in the run because I could tell the actors weren't fully there yet fumbling over some lines and just stopping at awkward times.
There isn't really a plot to speak of and I wouldn't call it a "revelations" play because that isn't really the point. It's mainly just a slice of life play showing a family dealing with their lives. I don't know how anyone could say there isn't a supernatural element to the play because it's very obviously shown on stage. There were several moments where I did get very uncomfortable because a lot of the dialogue is a bit too real. This is certainly not a bad thing but it leads me to my criticism of the play.
I know plenty of people on the board love everything Reed Birney does but I still don't get the appeal. I think he's a very bland actor with no real talent. Since he is supposed to be the sympathetic character here I had a problem fully immersing myself in the events on stage. Jayne Houdyshell was phenomenal and I really wished she had decide to divorce her husband so the story isn't so bogged down by his dead weight. I wish the Momo character was not in the play because I'm honestly tired of seeing characters in plays who are there just to show us that getting old is scary. I had the same feelings about Barbara Barrie in SIGNIFICANT OTHER because her scenes drained the energy from that. Also I get that it's acting but I didn't really ever believe that the majority of that family was Irish.
In terms of the set, I think it's utilized well and Mantello is able to direct scenes where action is taking place on both levels but you always know where to focus. My one issue is that a large portion of the beginning takes place on the upper level which is difficult to see if you're in the back of the orchestra. I would recommend sitting no further back than row K or L.
Posted: 10/7/15 at 6:32pm
Annoying seating question: Is the top half of the set obstructed by the mezz overhang from the rear orch?
Posted: 10/7/15 at 11:56pm
dshnookie said: "Annoying seating question: Is the top half of the set obstructed by the mezz overhang from the rear orch?"
As I said in my previous post, I found the upper level of the stage to be obstructed when viewed from the back of the orchestra.
Posted: 10/8/15 at 12:11am
I was the second to last row all the way to the side, right and I could see fine. You can't see the TOP of the set, but no one's head was cut off by the overhang. But I think the last row of the orchestra is considered "partial view"
And sorry it just wasn't overtly supernatural to me. To me some flickering of lights and strange noises doesn't make me think of "supernatural" elements. But I really enjoyed the play.
Updated On: 10/8/15 at 12:11 AM
Posted: 10/9/15 at 9:38am
Posted: 10/11/15 at 6:55pm
I was at today's matinee and enjoyed it very much. The characters and the dialogue felt very real and authentic, and the cast is just fantastic (especially Houdyshell.) The last ten minutes or so are very eerie and I loved it. Definitely recommend this production!
Posted: 10/11/15 at 6:59pm
Just got tickets for this for my upcoming NY Trip - the buzz on the is board is palatable and of course I think Joe Mantello is a genius visionary director so very much looking forward to seeing it - and glad I got a ticket before the review run and tickets become scarse.
The question I have now is prioritizing what else I am going to see....AVFTB and HAMILTON and OLD TIMES and KING GEORGE....I gotta fit RIPCORD in there too...hmmm.
Posted: 10/11/15 at 11:11pm
I saw the matinee performance today. If anything, this recalled Odets' writing. This family has done everything by the book yet they are screwed. The only one who has something to look forward to, to live for, is the Trust Funder. This is the middle class in America today. The patriarch is culturally impotent. The matriarch's faith is ridiculed. The daughter's wish to be a composer will be thwarted by the lack of time and opportunity to develop mastery because she needs to work to stay above water as she risks drowning in student loan debt. The other daughter's gut has burned out as she's been on the partner hamster wheel. The demented grandmother brings the story around to demonstrate how in two generations they've slipped down the ladder's rungs to end up in a near-tenament apartment on the LES. All gains have been wiped out. That they huddle together at Thanksgiving to act out gratitude, blessings, and ritual is funny-sad. Between casting and direction, this is the best that Mantello is known for in theater. I like humanistic plays like this and I'm grateful (not Sondheimy sorry-grateful) for nonprofit theaters like The Roundabout that foster them.
Posted: 10/14/15 at 11:13pm
I don't think this is a bad play and I don't want to take anything away from other people's enjoyment of it but it just didn't reach me. Sometimes it happens. I can't really call it out for anything but it didn't connect with me. I thought it was amusing but not funny. I watched the emotional scenes at a remove, not really affected by them. I've seen worse plays that affected me more.
I think I wanted more direction. I learned some stuff about these characters' lives but I didn't really feel like I knew them or knew why I had to retain any of that information and most of it left my head in the hour or two after I left the theater. There were interesting ideas and threads that could be followed. I liked what the father said to the daughter about being grateful to have a passion and needing to willing to fight for it or find something else to pursue. But it was just a lot that didn't seem to amount to anything more than a slice of lives that I didn't find that compelling.
For me, the noises and "supernatural" elements were just distracting. They distracted me in the moment (by competing for attention with the actual play) and they distracted me by keeping me at a distance and at a level of abstraction. I was preoccupied with the Quasars and the silhouette in the window and the noises and the things falling and the lights going out and wondering if it was going to build to anything. After giving it a bit of thought I have my own nonsupernatural theory but it doesn't really matter and I'm not terribly fond of stories like that. I think plays that ask questions can be worthwhile. Plays that expect you to do all the work don't appeal to me as much.
Updated On: 10/14/15 at 11:13 PM
Posted: 10/15/15 at 8:02am
I loved this play. I don't think anyone writes better dialogue than Karam. I loved Sons of the Prophet and thought it might have been more layered. That being said, The Humans, is beautifully acted and directed. I loved the way the dialogue overlaps at times. Houdyshell is really wonderful, as is Reed Birney. The rest of the cast is equally as wonderful. I can't say enough. I didn't want it to end. I loved the supernatural element. I think it added to the feeling that all of these peoples lives were/have been/might be falling apart... as are most "Humans" if you get at the core of each of of. We are all hanging on by a thread at times.
I sat in the small comfortable Mezzanine and I have to say, I think it's the BEST place to sit for this show. It's a two story set and I could see everything perfectly well and probably better than ANYONE in the orchestra. So... Go and see this show and get a seat in the Mezz. Highly recommended.
Posted: 10/15/15 at 11:16pm
I agree that the Mezz is a perfect spot for this two level show...and it's such a small mezz, you can sit anywhere.
Loved the play, really enjoyed the performances - especially Jayne who really was the heart and soul of this show IMO. But I thought all the performers worked well in their parts, the dialogue was very real - I could hear my own family say a number of the same lines and be in similar situations. I didn't love every single thing about it...there were a few stereotypical moments that I didn't care for - but overall, I felt the show had tonight's audience (with me in it) in the palm of their hands from start to finish.
I am not sure about the "supernatural parts" - that was such a small part of the play it didn't really bother me or get to me one way or the other. But much of it did get to me..especially the true to life dialogue.
Posted: 10/25/15 at 11:32pm
Posted: 10/26/15 at 12:58am
Joe Mantello is such an innovative director that recent behavior has dictated that I see everything he directs - and this rave review in the Times has solidified that fact.
Now, heres my dilemma, how much of the play will I miss - I read its on 2 levels - if I am sitting in the first few rows? I have only been to Laura Pels Theater once back in 2007 I think it was to see Mr Marmalade with Michael Hall and Mamie Gummer.
Posted: 10/26/15 at 4:46am
"Let's hear it for The Humans!"
By all means, Ethel, let's hear it for the stinker with the most references to stinking up the bathroom in the history of the theatre.
"Rave from the Times-Isherwood-who doesn't think we'll see a better play this season."
What? Better than John?!!! How can that be? Oh, maybe because that dud offered people eating Vienna Fingers near a Christmas tree, whereas this stinker regales us with recurrent references to fecal matter and cockroaches at Thanksgiving dinner.
Pumpkin pie, anyone?
"Others I've read have all been positive."
Ha ha ha ha ha. Considering how putrid and inept it is, could anyone have expected otherwise?
Updated On: 10/26/15 at 04:46 AM
Posted: 10/26/15 at 9:27am
Thrilled to see this play receive the praise it deserves! I'd like to see if this may lead to Karam's broadway debut.
Posted: 10/26/15 at 9:49am
I loved this play a lot, but I can't see it doing well on Broadway for a variety of reasons. Fortunately, it works beautifully where it is now, and I'm happy to see it received so warmly.
Posted: 10/26/15 at 1:09pm
I enjoyed how the dialogue flowed so naturally and authentically, perfectly capturing what might be said at most any holiday dinner table. The only character who didn't really ring true for me was the boyfriend. Houdyshell and Birney were first-rate. As to the quasi-supernatural happenings throughout--and especially at the end--I thought of two things: First, that those who believe in negative energy having an impact will appreciate "those" scenes; second, since my daughter's former LES apartment seemed to have been built on a slant, stuff was always falling off countertops; even the stairway leading to her apt reminded me of the old "cockeyed circus" ride at Palisades Amusement Park. So as the old saying sort of goes, "You pay your money and you take your choice." It all depends on how your wish to interpret what you've seen.
Posted: 10/26/15 at 4:06pm
Great reviews all around.
Would this be a candidate for a transfer? Let see where it goes from here.
Posted: 10/26/15 at 4:14pm
Posted: 10/26/15 at 4:20pm
It would have to move to another theater when something else,comes in
It does not necessarily have to go to Broadway. The main point is it does not due after this engagement.
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