Review: Buzzer (Goodman Theatre)

Buzzer

Written by Tracey Scott Wilson
Directed by Jessica Thebus
at Goodman Theatre, 170 N. Dearborn (map)
thru March 9 | tickets: $10-$40   | more info

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Possibly interesting take on gentrification gets lost en route

Goodman Theatre presents

Buzzer

Review by Clint May

Not too long ago, I wrote about a wish for a third piece to round out the study in race and neighborhoods that began with A Raisin in the Sun and was sequeled by the excellent Clybourne Park. Since Clybourne was set in the relatively recent past, it seemed a bit premature to think that Tracey Scott Wilson’s Buzzer would fill that role, but reading the description, I had cautious hope that it would be an enlightening waypoint. At times, it is, and had the show been focused and culled “..and sexual” from its list of thematic tensions to explore, it might have been so much more. Black comedy (that feels more sitcom than truly dark) mingles unnecessarily with a tale of gentrification in what feels like “You, Me and Dupree” with social commentary.

Moving back to his childhood ‘hood (Walt Spangler’s Ikea-interior meets seedy NYC exterior), the now quite successful Jackson (Eric Lynch) is determined to become a first wave of gentrifiers putting a cafe on every corner and a gym on every other block. His motivation for this remains unclear: is he trying to do some good in his neighborhood, or is this a little boy’s vendetta to drive out all the people who made him feel insecure growing up? His long time girlfriend Suzy (Lee Stark) is dragged into this plan against her better judgment. Making matters worse, Jackson has inexplicably decided to put yet more strain on their relationship by inviting his long time BFF Don (Shane Kenyon) to live with them while he puts his life back in order for the 9th time. That Don is the bane of Suzy’s existence makes it all the more odd (yet sort of predictable) that Jackson’s long hours at the office mean they eventually hook up. To cover up the emotional fallout, they hastily blame their odd behavior (despite a “no lying” house rule) on the verbal abuse Suzy suffers walking around in their neighborhood. Despite his frequent admonitions against being perceived as a “magical Negro,” Jackson’s Obama-like equanimity (the resemblance can’t be coincidence) turns instantly into escalating machismo. His belief that “the cops will come” simply because they are gentrifiers makes it seem as though he’s either forgotten everything he knew about his old neighborhood or vastly overestimates the speed of its gentrifying. What, exactly, did he expect? This is never explained.

For the life of me, I couldn’t quite figure out what Don necessarily added to the narrative. He’s got a rich daddy who’s always bailed him out of his chronic drug abuse and the problems that followed, thus making him the diametric opposite of Jackson’s humble upbringing. This requires a quick scene to explain just why they are such devoted friends in the first place (it doesn’t involve admitting that Don is a dramatic avatar for Jackson’s seething ire at the invisibility of privilege). Too frequently he comes off as “wacky” with his witty asides that destroy tension (a point these three frequently notice with the acumen of a critic perceiving their work), while Jackson is moved from the potential focus of the piece to the position of gullible spectator in his own life. None of these people come across as terribly comprehensible in their actions or explanations of such. Not that this is always necessary, but all the scenes that would explore character are done out of sight or referenced in the distant past. One standout example: a missing scene in which Suzy and Don—in a stunningly nonsensical decision—actually invite one of the verbal taunters into their swanky condo for an olive branch tour.

So the result feels like two productions sewn together and working on multiple levels that grind against each other. Either one of these would make a fine play by itself. Kenyon is quite good with comic timing and is a completely likable, absolutely immediate performer (I adored him in Big Love and Kin). Watching him and Stark—who manages to remain compelling despite her character’s many flaws—having a troubled affair would make a fine story unto itself. The same is true for Jackson’s internal struggle with his identity in relationship to his white girlfriend, their ability to remain united in his old stomping grounds and his desire to gain the very privilege he sees as corrupting. Unfortunately, even with the talented Jessica Thebus at the helm, the messages get muddled as they vie for visibility.

With Zimmerman and now Dunn garnering headlines, Buzzer’s final scene is a piece of poetic symbolism that—even if the preceding didn’t earn it and it is therefore startlingly heavy-handed—remains a stunning mute tableau. Frustratingly formulaic as an arc with individual scenes that clearly demonstrate that Wilson has very interesting things to say, Buzzer—like the broken one at Jackson and Suzy’s front door—is disconnected somewhere in the labyrinth from bottom to top.

Rating: ★★

Buzzer continues through March 9th at Goodman Theatre, 170 N. Dearborn (map), with performances Thursdays at 7:30pm, Fridays and Saturdays 8pm, Sundays 2pm and 7:30pm. Tickets are $10-$40, and are available by phone (312-443-3800) or online through their website (check for half-price tickets at Goldstar.com). More information at GoodmanTheatre.org. (Running time: 2 hours 15 minutes, includes an intermission)

Photos by Liz Lauren

artists

cast

Eric Lynch (Jackson), Lee Stark (Suzy), Shane Kenyon (Don), Andy Lutz (Tenant), Luce Metrius (Tenant), Danny Mulae (Tenant)

behind the scenes

Jessica Thebus (director), John Culbert (light design), Mikhail Fiksel (sound design), Birgit Rattenborg Wise (costume design), Walt Spangler (set design), Kimberly Osgood (production stage manager), Tanya Palmer (dramaturg), Liz Lauren (photos)

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