“The Flick,” a play written by Annie Baker, won the Pulitzer Prize for Drama in 2014. The production of the work by Creative License at Cohoes Music Hall indicates the play is worthy of such an honor. It is a ground-breaking work in that modernizes the old kitchen dramas of the 60s and 70s.
Those older plays concerned a small family unit, usually dysfunctional, to show how minor hurts within the family dynamic can cause emotional harm. Indeed, it’s possible to view “The Flick” as a family drama for millennials, as it’s about an extended and very temporary family unit.
The bond between the three characters is the workplace. The play takes place in a run-down movie house in central Massachusetts that is likely to be the last to show movies on 35mm film. The characters have menial jobs. Two clean up between shows; the other is the projectionist. Between the showings of a film they gather in units of two or three. Those scenes offer background information about their lives outside of work.
Mostly, what the audience connects with is their relationships with each other. Whether it be the importance of the pecking order that exists even in nowhere jobs, or unrequited sexual interests. What you learn is how important work is to an individual’s identity.
It may seem low stakes, especially when it takes three hours to reveal the obvious. What is considered friendship may often be only a common connection. Very few people will help you bury the body at 2 am.
It’s open for debate whether it is necessary to tell this story over three hours. I can see 30-40 minutes cut with ease. However, “The Flick” is more a theater experience than it is a typical production of a traditional play. It could be argued that the rhythms of the play need this much time to truly feel the tedium of desperate lives.
I can say, the play always held my interest. And, I think a second viewing would be even more satisfying.
The Creative License production under the direction of Aaron Holbritter is excellent in capturing the psyche of people who have little hope for the future as they live life day-to-day. One way such people cope with their lives is in escapist entertainment. That’s the people in “The Flick.”
Sam, a 35-year old loser and Avery, who is written as a young African-American, are obsessed with film. Indeed, there are about 48 films referenced in the play either in dialogue or sound clips between scenes. But don’t worry; it only adds to the fun for those in the know. It doesn’t detract from the experience by not knowing film history.
What does detract, at least on opening night, was the inability to hear all the dialogue. None of the young actors are very experienced and dropping a voice at an end of a sentence, speaking too softly or facing to the side during an important speech made it a challenge to hear some of the dialogue.
That problem will more than likely change quickly, just as the relationships between characters will tighten.
As it exists now, this is a compelling presentation of a very smart play that has an almost subliminal impact. What makes the work rich is that it lingers in one’s memory.
That said, the Creative License production doesn’t always get it right. The actors are all good as they understand their characters and their relationships with each other. However, probably because of direction, the characters lack the edge that Baker has included in the writing. Creative License lessens the play’s complexity by softening each character as mainstream rather than living on the edge of proper society.
Though he appears much younger than 35-years of age, Bill Geltzeiler as Sam captures the nature of a man who is content living life as a loser. An added boost to his performance is the energy he brings to a work that would be dismal without it.
Cailyn Stevens captures the confidence and competence of Rose. She is not really a very nice person but the production implies, especially by dress, hair style and make up, that she’s kind of the ‘girl next door’ - even if she’s really not. Actually she’s the girl you dread your son coming home with.
Michael Halkitis’ Avery is the most problematic. He is a passive presence as the psychologically disturbed youth. Yet, in a rather unemotional work, his telephone call with his therapist is quite touching.
Initially, Halkitis doesn’t completely capture the fragile nature of the youth, but he improves as the play progresses. However, elements of his casting diminish most of the racial conflicts in the work.
In many ways this is an ideal play for the historic Cohoes Music Hall. Besides it’s intimacy, it reminds the audience of the importance of entertainment over the centuries.
“The Flick” continues through Sunday at the Cohoes Music Hall. For tickets and schedule information call 518-434-0776 go to cohoesmusichall.org
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
