Review Roundup: UNDERNEATH THE LINTEL at Geffen Playhouse

UNDERNEATH THE LINTEL runs at Geffen Playhouse through November 19. When a reclusive librarian discovers a 113-year overdue book in the night slot, curiosity compels him to pursue the borrower. His search for answers leads to a worldwide, whirlwind journey, where he discovers instead the great mysteries of humanity.

The show was written by Glen Berger and directed by Steve Robman, and features Ayre Gross as The Librarian. UNDERNEATH THE LINTEL has a set design by Se Hyun Oh, costume design by Leah Piehl, lighting design by Tom Ontiveros, sound design by Cricket S. Myers, and projection design by Jason H. Thompson.

Let's see what the critics had to say!

Erin McFaul, The Daily Bruin: Now with shabby hair and a face coated in thick sweat to signify months of traveling, Gross excellently portrays the look of a man in a life crisis. The stage lights dim and a spotlight shines down on the librarian as he stares up at the ceiling, as if in thought to himself, delving into a heavy-hearted monologue about his legacy. Fearing the same purposeless wandering of the Jewish man, he considers the memory he would leave behind and if, with no family, anyone would remember him in the decades to follow.

Shari Barrett, BroadwayWorld: Like the long-overdue book, the story unfolds as a real page-turner you can't put down, one which challenges you to follow along as the tale unfolds. And thanks to Gross, you will be totally pulled into this lonely man's obsession with discovering the truth, no matter what... More and more, his belief in who the wanderer was seems to be true.But if it is, does it prove the Bible story/myth is a true, and if so, does it also prove God exists? As you listen and formulate your opinion on whether or not his evidences make sense, be prepared that in the end there is no real definite answer, leaving the audience to decide for themselves whether his evidence collected proves his theory.

Danny Margolies, Los Angeles Daily News: These thoughts may course through the audience's minds during and after the show. Unfortunately, the script peters out by its end. Robman gives it a bit of flair, but we expect more from this lofty piece. The undisputed highlight of this work is Gross' performance. A mild Dutch accent, the aforementioned realistic fleshing of a man unaccustomed to physical activity, and his handwriting as he uses a chalkboard (the slide projector, tape deck and references to card catalogues add to the charms here) richly bespeak life in small-town Holland. Gross' acting skills are aging to perfection. His physical instrument is doing fine, too. The performance he gives here is superb - undoubtedly one for the books.

Photo Credit: Chris Whitaker

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