An existential "thing" rooted in theatre of the absurd and gritty reality with undertones of self destruction and weighty Christian symbolism. That could not even begin to summarize the slick yet often perplexing production of THINGS WITH FRIENDS now completing it's run at Buffalo's Alleyway Theatre.
Not since WAITING FOR GODOT has a play been as intriguing and head scratching at the same time. Playwright Kristoffer Diaz brings some impressive credentials, as a Pulitzer Prize finalist and TONY Award nominee. His script for Broadway's HELL'S KITCHEN has been highly praised and the tour will play Shea's Buffalo this fall.
Now Diaz has written what he calls, " such a weird play-intentionally. This is one of those plays that is asking you to lean in a little bit, to give some thought, to go wild with your theories...your conspiracy theories about what's happening here. And have some fun." And that is exactly what this one act 105 minute play does.
In an upper middle class swanky 27th floor NY city apartment, a narrator and commentator named KKD (Smirna Mercedes) welcomes the audience to the home of husband and wife Adele and Burt. Their digs have a glorious view of where the George Washington Bridge used to stand. They prepare for a dinner party (or is it?) with two of their best friends/former neighbors, Vy and Chabby, who have moved from their apartment on the same 27th floor to New Jersey.
David C. Mitchell as Burt prepares the steak, while Adele (Sarah French) tidies up. Their relationship is comfortable, yet an underlying edginess is present. Would the guests actually show up and are they actually planning on eating? Why is Adele so unsettled. And is this truly the last bottle of wine? When the gregarious guests arrive, it is clear that Vy ( Shanntina Moore) and Chabby (Stan Klimecko) are all chums. The guests had a "thing" to attend before dinner and another "thing" after dinner. The things are rarely made clear, but hey this is New York, and there are many things to do.
New York is changing- the George Washington Bridge has collapsed and the Brooklyn tunnel is gone, overtaken by water. Coincidentally Burt is a bridge builder and Chabby persistently pushes for Burt to bid to build the new bridge.
The relationship of these four is complicated, and the stressors of the evening don't even begin to match the concepts thrust upon Burt and Adele by their guests. Vy and Chabby do things, lots of things. Burt and Adele do nothing, lots of nothing. Vy and Chabby have a daughter, Joony . Burt and Adele have no children. Each couple endlessly debate about why NY is better than New Jersey, and vice versa. Soon, the innocent banter turns confrontational and the single bottle of wine miraculously becomes endless, as more bottles surface. Is the alcohol taking over, or could we be preparing for the end of the world as we know it.
It becomes clear that Diaz has set up a rollercoaster in a mad house lined with mirrors. The storyline is cracking, as the guests revel in the overlying delicious steak, which they eat with their hands, like barbarians, as blood drips down their hands. The very apartment they are in now is a desired property, as the guests demand that Burt and Adele sell it to them. Hints of Edward Albee's A DELICATE BALANCE permeate as the guests now refuse to leave. But what is their true motive.
Executive Artistic Director and Stage Director Chris Handley has programmed this piece clearly to stir emotions. His cast is fully committed to the story and deftly execute the action. While the story concentrates on the two couples, the narrator creates a sense of levity in commenting on the action as a bystander, allowing the audience to accept the often absurd nature of the play. Mercedes is that every man type character, affable to the core. Her portrayal could be likened to the Alfred Hitchcock's commentary before and after one of his half hour TV episodes, where gruesome things happen to everyday people.
Mitchell and French each get their times to shine. The pair work in perfect union, at first glance appearing normal at every turn. Mitchell brings grounded reality to his performance until he can't take it any longer. He dances with blinders on as the plot unravels. French's meek demeanor never seems studied, but true to life. And she is given some fabulous turn of events that allow her to shine as she assumes ultimate control over her overbearing guests.
Moore is captivating in her nonchalant grandiosity, and morphs easily from dear friend to a grand manipulator. Klimecko oozes slimy New York City entrepreneur, always out to close a deal, unswayed by who he needs to take down to achieve his goals. His portrayal is matter of fact and blunt, until he becomes unhinged and sloppy, slowly decompensating to primal urges. Klimecko is a pro and his performance was fascinatingly raw.
Handley's direction of these four pals makes everything looks effortless, as a finely choreographed downward spiral. KKD is woven in and out of this complicated dance as the four spar, joke and taunt each other with little regard for their words and actions. Even the art on the wall takes on a symbolic character of it's own.
Sunny Griffith is Joony, and at first glance appears as any normal young woman who drops in to a madhouse dinner party. Griffith convincingly acclimates and is likeable. She is unflinched by her parents' behaviors, but soon she takes a turn into her own madness. Yes, our vegetarian now dives deep into scarfing down as much of this delicious bloody steak as her parents. But why this change of heart, and palate. Is she succumbing to an inevitable outcome. And will this dinner party only be made up of bloody steak, bread and red wine? The symbolism may or not be subtle. The denouement occurs as the side dish is presented, albeit at the end of the meal. And who partakes, and in what order? Is there a chance some, or all, will "drink the koolaid?" The tension is heightened by the single act nature of the play, with no reprieve of an intermission
The fabulous Scenic Design by Tania Barrenechea sets the bar quite high. It slick details screams sophisticated luxury, and the scenic effects are top notch.
THINGS WITH FRIENDS is most definitely avant-garde theatre meant to instigate conversation. The ride is bumpy and unexpected, the themes are complex and often uncomfortable, but creatively incite and challenge the audience.
THINGS WITH FRIENDS plays at Buffalo's Alleyway Theatre through April 25, 2026. Contact alleyway.com for more information
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