BWW Reviews: Neil LaBute's THE BREAK OF NOON Goes On and On for the Love of God!

The Break of Noon/by Neil LaBute /directed by Frédérique Michel/City Garage Theatre/thru May 10, 2015

Kudos to George Villas for mastering Neil LaBute's extremely word-heavy monologues-the opening 20 minutes and the what-seemed-much-longer closing one. As directed by Frédérique Michel, Villas' John Smith (in his epiphany of hearing God talk to him during the noontime massacre he's sole survivor of) has not exhibited (though he claims to) any radical improvements from his previous habits of being "an asshole" to everyone. Villas' Smith's long involved diatribes might be easier digested presented by a pivotal character more sympathetic and grounded.

The Break of Noon explores Smith attempting to rectify his past mistakes with his ex-wife and his ex-mistress while justifying his newfound wealth and infamy with his lawyer, the media and a daughter of one of his murdered co-workers.

In the catalytic event that sets The Break of Noon in motion; Juan Diaz, a disgruntled ex-employee Smith personally fired, enters the Stanford & Cross offices at lunchtime gunning down 37 of the 38 employees there. As Smith recounts to the arriving police and re-iterates to the press and all who subsequently ask, he saw a light and heard the voice of God tell him to just stay still, and then spread to all his message to do good. And before he regained consciousness being examined by the medics, Smith inexplicably took a photo of the carnage he was in the midst of-a perfectly clear, miraculously composed shot of body parts and dead bodies.

In a welcome respite from the long opening monologue, Smith consults with his Lawyer, animatedly played by Kat Johnston. Those who like scenes consisting of interrupted, incomplete sentence fragments will love this segment. Examining a print of the gruesome images, Lawyer informs Smith of its great projected monetary value. But Smith's not in it for the money. He's in it for God. Smith instructs Lawyer to give a good portion of the monies to charities.

Smith takes an elaborate stab at rekindling the lost passion of his ex Ginger with a picnic at the park where they had their first significant encounter. Kristina Drager's superbly strong and rational as the aptly confused former wife who's long moved on.

Courtney Clonch's simply deliciously bitchy as the TV Host interviewing Smith on her telecast. Clonch easily switches from fawning hostess to "devil's advocate," in questioning Smith's real intentions for his religious re-birth.

To test if he still possesses his pre-saved-by-God sexual proclivities, Smith gets strung up and spanked by a S&M practitioner Diva Midnight, proudly essayed by Nicole Gerth. Gerth's Diva Midnight's not apologetic being someone who's hired by the hour. And when the real reason of Smith's visit's revealed, Gerth grabs the opportunity to show off Diva Midnight's usually hidden vulnerable side.

A feisty Katrina Nelson imbues life in her role as Jessie, Smith's former mistress, the only one who still believed in Smith's version of being the chosen one.

Alex Pike commands as the Detective re-interrogating Smith, making the max of the chance to play both good cop and bad cop in this singular session. The Detective wants to believe everything Smith has stated, but even as a God-loving/God-fearing man himself, the Detective can't understand why Smith decided to take a photograph in that frenzied moment. Shouldn't he have tried to help any one of his fellow employees???

Anthony M. Sannazaro's live video close-ups of Smith and various others amazingly enhance the interrogation and TV show scenes while his rear-screen projections of cityscape and park views set up the appropriate locales behind Charles A. Duncombe's utilitarian dual-level set.

www.citygarage.org

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