Review: BRUISE EASY at American Theater Company Captures Agony of Messy Sibling Reunion

Dan LeFranc's world premiere play BRUISE EASY, his second collaboration with American Theater Company, begins by introducing us to the story of two estranged siblings (played by Kelly O'Sullivan and Matt Farabee)--reunited for the first time in several years on the driveway of their mother's house in southern California. But the play doesn't start with a conversation between the two central characters. Instead, six teenagers-known as the "Neighborhood Kids" and portrayed by members of ATC's Youth Ensemble--walk onstage wearing creepy plastic masks, and in unison, introduce the narrative using dialogue peppered with "like's" and "whatever's." In this way, LeFranc sets the scene for BRUISE EASY as a modern Greek tragedy--with a twist in its Greek chorus.

The concept of BRUISE EASY intertwines a central convention of ancient Greek theater with a more recent theatrical troupe: the American family drama. And the devices of ancient Greek theater unveil themselves in some surprising and uncomfortable ways in BRUISE EASY, particularly in regards to the play's manifestation of the Oedipal complex. As written in the script and staged by director Joanie Schultz, however, these two theatrical threads never come together. While the story of siblings Tess and Alec captures some of the emotional profundity that pervaded LeFranc's lovely first production at ATC, 2011's memorable and heartfelt THE BIG MEAL, the Neighborhood Kids are rooted in the world of heightened satire. And it is this latter device that prevents BRUISE EASY from reaching a more meaningful emotional climax, which I believe this play is due and which, as evidenced by THE BIG MEAL, I know LeFranc is capable of writing.

That said, O'Sullivan and Farabee's performances in BRUISE EASY make this production worthwhile. These performers are entirely affecting and capture both the strange joy and intense discomfort of their reunion. After their parents' ugly divorce, Alec remained in California with the siblings' mother while Tess moved to Colorado with their father. Years later, in the play's setting of 2005, Tess returns to the driveway of that southern California home-divorced, possibly pregnant, and with some undisclosed and unsorted business with her mother. The entire run of the play takes place on that driveway, designed by Chelsea M. Warren, and thus it lies to O'Sullivan and Farabee to entertain and move audiences--and they do. As Tess, O'Sullivan exudes an energy equal parts distant and longing, while Farabee funnily and sweetly captures the "man child" mentality of his character. LeFranc gives these actors the challenge of sustaining a play when these two characters, while deeply connected, have since become like strangers. Both O'Sullivan and Farabee prove that they are up to the challenge and carry this play to some unexpected emotional places.

That said, the sporadic appearances of the "Neighborhood Kids" took me out of the moment each and every time they appeared onstage. While I wanted to be more invested in Tess and Alec's story, the Greek chorus distances audiences from that complicated sibling dynamic and prevents it from being as moving as it could be. I also found the dialect of the Neighborhood Kids more annoying than humorous. While I admire LeFranc's decision to give BRUISE EASY a bold theatrical concept, this story works best when the two central characters are able to speak for themselves and convey their own pain and suffering. BRUISE EASY succeeds not in moments of theatrical artifice or contrived device, but in the moments when O'Sullivan and Farabee provide deep, searing interactions and lay bare the wounds in their relationship. These moments feel real, and it is in these moments that BRUISE EASY packs a real punch.

BRUISE EASY runs through February 14 at American Theater Company, 1909 West Byron Street. Tickets are $43-$48. 773-409-4125 or ATCWeb.org.

Photo Credit: Michael Brosilow