Mosaic Theater Company's production of Private.
Photo by Chris Banks.
The question of privacy and personal autonomy is a vital theme especially in these stress-filled and autocratic times but, the current offering at the Mosaic Theater Company of DC the play Private misses the mark. Though it is commendable that this play's themes are explored, the dramatic impact of the play never shines through.
A cast of four actors works with a very weakly developed play by Mona Pirnot concerning privacy in a couple's lives as an unseen employer monitors their activities. What sounds like a fascinating idea/theme ends up in a ninety-minute play full of surface exploration, static character development and a plodding directorial pace by Director Knud Adams.
Indeed, this story of an omniscient employer that behaves like an Orwellian big brother cannot pack a punch when the play veers into so many undeveloped byways and standstills. The playwright Pirnot never really develops the central theme of monitoring of private lives deeply enough to make one want to really care about the character's plights. The play is also condescending and patronizing towards its characters in that the writing shows no empathy whatsoever about the context of their lives.
The play continues into a subplot about the lead male actor professing to care for his partner ---leaving us to wonder why he lied to make a better economic life. This was interesting but it created a bit of a distraction from the major theme of employer surveillance.
This play is delivered in a real-life conversational style that unfortunately becomes flat and undefined with any line reading that has zip or vigor. Playwrights Annie Baker and Sam Shephard handled a pared down style of writing with much more dramatic payoff. If the director and cast had wanted this low-key approach to work, there must be some embellishment at times to maintain interest. This play could be developed and worked on to make it more dramatically engaging and that could be better handled by having this play presented at a theatre festival or workshop.
If this play is supposed to stir the intellect and emotions on a pressing theme -why is every line delivered in such a nonchalant and oblivious manner? If the Director wanted to use this approach, it would be advised to get a commensurate play that could handle this languorous style of directing---Waiting for Godot has such pauses and pacing but Godot is a great play.
I do not know if the Director intended this but almost every line is delivered with an air of grave solemnity as if every subject was of equal serious import---no matter how mundane the line. Long drawn out pauses after almost every other line may have some effectiveness but the pauses and silences are so often repeated that any sense of heightened dramatic import is lost.
The two lead actors---Tẹmídayọ Amay (Georgia) and Eric Berryman (Corbin)-- speak in a monotone and do not project with any inflection in their voices. Portraying the main relationship in the play is a challenge and Amay and Berryman were obviously working hard to portray their characters, but they often were preforming in their own private bell jars. At many moments, they are whispering to one another, and projection is totally lost. This approach may create onstage ambience but if the text of the play cannot be heard, this approach cannot work.
There is a solid natural performance by Ben Katz as Jordan as the friend and by Sophie Schulman as the officious Abbey. Schulman injects needed subtle humor into the proceedings.
The Scenic Design by Luciana Stecconi is visually arresting with a sleek and sparsely furnished long white, distinctive rectangular set structure.
The Mosaic Theater Company of DC has attempted an exploration of an important theme.
Running Time:90 minutes with no intermission
Private runs through April 17, 2022 by the Mosaic Theater Company of DC. The Mosaic Theater Company is located at the Atlas Performing Arts Center, 1333 H Street NE, Washington, DC 20002. For tickets, click here or call 202-399-7993 ext.2
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