Review Roundup: Tawni O'Dell's PAY THE WRITER

The world premiere of the new comedy-drama Pay The Writer by New York Times Bestselling Author Tawni O’Dell (Back Roads), just opened Off-Broadway at The Alice Griffin Jewel Box Theatre at The Pershing Square Signature Center (480 West 42nd Street). The seven-week limited engagement is directed by Karen Carpenter (Love, Loss, and What I Wore), and stars Ron Canada (Network, Wedding Crashers, “The West Wing”), Emmy and Golden Globe nominee Marcia Cross (“Desperate Housewives,” “Melrose Place”), and Bryan Batt (“Mad Men,” 12 Years a Slave, Jeffrey). 

Focusing on the complicated relationship between a legendary literary agent and his best friend-turned-most-successful client, Pay the Writer explores how an artist’s life is controlled by their calling and talent. 

Bruston Fischer (Bryan Batt) is a young gay man suffering from social persecution while trying to make it in publishing when he first meets Cyrus Holt (Ron Canada) some 40 years earlier. Cyrus is a gifted Black writer trying to get his talent noticed in a world that wants to ignore his existence. Through their unique friendship, the pair find literary success and the most stable relationship either will ever have. Yet, when talent, business, and love intertwine, missteps occur and, inevitably, regrets often follow. Triumph and loss become blurred as we sort through the challenges of the human condition. Pay The Writer is a heartrending and funny exploration of personal and artistic legacy while navigating life’s final chapter. 

Let's see what the critics had to say...

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Charles Isherwood, Wall Street Journal: Under the direction of Karen Carpenter, the actors all give respectable performances. Ms. Cross (“Desperate Housewives”) provides a polished turn as Cyrus’s much-mistreated ex, who hasn’t seen him in 20 years. But their scenes together mostly consist of rehashing their turbulent marriage; he was a philanderer and alcoholic. The scenes between Cyrus and his estranged children also are freighted with unhappy or wistful reminiscences—less than compelling dramatic material.

Alex Barasch, The New Yorker: O’Dell and the director, Karen Carpenter, throw one emotional punch after another; most of them land, but the barrage may leave you reeling. Thankfully, a talented cast, particularly Bryan Batt (“Mad Men”), as Holt’s agent, is there to prop you up.

Ryan Leeds, Queerty: Tortured artists are prime for dramatic renderings (We’re waiting with bated breath for the Broadway transfer of Merrily We Roll Along.) O’Dell’s Pay the Writer will likely soon be forgotten — and difficult for budget-strapped regional theaters to produce with an unnecessary cast of eight. Yet as one patron muttered immediately after the curtain call, “Oh, well… I’ve seen worse.” Agreed.

Samuel L. Leiter, Theater Life: August 21, 2023: In case the title of Tawni O’Dell’s dawdling new comedy-drama, Pay the Writer, at the Pershing Square Signature Center, makes you think it’s related to the current writers’ strike, think again. Instead, it’s about a fictional African American novelist, Cyrus Holt (Ron Canada, Network), a Viet Nam vet, famous, financially successful, and highly regarded by the critical establishment (two National Book Awards and a Pulitzer Prize). Dying of a fatal illness, he seeks, albeit reluctantly, to reconcile his differences with those closest to him.  

David Barbour, Lighting and Sound America: Under Karen Carpenter's listless direction, the actors often pause and look into the middle distance, savoring the wisdom of their thoughts. As Cy, Ron Canada brings a bearish presence and resonant voice to a character that doesn't make much sense. Bryan Batt struggles to make something out of Bruston, one of those gay clichés who crack wise through their tears. The busy television actress Marcia Cross throws herself into the role of Lara, although one never really believes that she and Cy were passionate, self-destructive lovers.

Ron Fassler, Theater Pizzazz: O’Dell is aided by actors who are confident in the characters they’re portraying. Bryan Batt cuts a fine figure, wholly believable as someone good at their actual job as well as the extracurricular work of attending to their client’s every need (“My talent is taking care of talent,” he says). Bruston also says early on, “We are born with agents. They’re called mothers.” As Cyrus, Ron Canada brings a soulful gravitas, but felt a bit tentative at the performance I attended the day before its opening night. This production has had a short preview period and with time he should easily come up to speed. Marcia Cross, looking no different than she did on Desperate Housewives nearly twenty years ago, makes for a believably torn ex-wife, though her character is a bit underwritten. Again, this play is about the two men.

Alix Cohen, Woman Around Town: Ron Canada’s Cyrus is grounded and real. We observe ego, intelligence, stubbornness, rue, affection, and resolution. The actor gives his character dignity. As Broston, Bryan Batt is more credible interacting with others than addressing the audience. Vulnerability and pride are well played. Marcia Cross is too expansive for Lana’s personality – a directorial issue? Steve Hauck (Jean Luc) is a caricature. Danielle J. Summons seems two beats behind, a tad too stuck in Gigi’s anger.

James Wilson, Talkin Broadway: Under Karen Carpenter's direction, the most effective scenes are those that include Bruston, Cyrus, and Lana. Batt is wonderfully and effectively catty, but there is notable warmth in his scenes with Canada even when the two men are sparring and cruelly belittling one another. Cross is a titanic and sexy force in six-inch heels, and it is a shame she doesn't have more to do. Some of the other characters (and to no fault of the actors playing them) seem extraneous, and the inclusion of a homeless man (Stephen Payne) near the end seems like little more than an unbelievable plot device.

Photo Credit: Jeremy Daniel

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