In Branden Jacobs-Jenkins’ world premiere of The Comeuppance, the latest from “one of this country's most original and illuminating writers” (The New York Times), a self-proclaimed “Multi-Ethnic Reject Group” reconvenes for the first time in years to pregame for their twentieth high school reunion. They refamiliarize themselves with new versions of old selves over drinks, other substances, and a not-so-innocent truth-telling game. From the start, Death looms over and speaks through them, describing their disquieting and darkly comedic fates. The Comeuppance marks Jacobs-Jenkins’ prolific decade as a Signature Premiere Resident playwright.
Director Eric Ting deftly guides a superb cast, all of whom make the most of their carefully calibrated roles. This reunion — depth-charged like most — unfolds in its own style (blessedly free of cliché) and at its own pace. One guarantee: Those 130 minutes will race by.
This makes for considerable humor, which Jacobs-Jenkins — with his ear for the snark of 38-year-olds (like himself) — renders faultlessly, and which Ting’s breakneck staging, never missing the details, amps to the max. It’s a mystery of the fine writing and excellent acting that the humor does not squash but rather enhances the pathos surging underneath. When it erupts, it can be devastating.
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