“Just think, in a hundred years, there will be all new people..”
While I have been back from New York for over a week, it’s only just now that I am finally able to process all the wonderful details of the trip. There will be many blogs to come focusing on everything from theater, to theme parks, to food, but I figure I’d start off with something closest to my heart.
You see, it turns out that Zach Braff- (actor, filmmaker and hipster-in-chief) has written a play. And it’s damn good. Not only is it warm and hilarious, but in my eyes, it could in fact very well be one of the most defining cultural and dramatic statements of the current generation.
“All New People” is the story of Charlie, a depressed thirty something, isolated in a New Jersey beach house in the dead of winter. The play opens with an indelible image- Charlie- attempting to hang himself with an extension cord. Wonderfully portrayed by Justin Bartha (The Hangover), we witness Charlie’s struggle to accomplish this deadly act. It’s as morbid as it is funny- aided by the comedic gifts of the actor. No sooner is he about to kick the bucket when he’s interrupted by an oddball British real estate agent (Krysten Ritter) who’s attempting to rent out the house to an older Jewish couple. You see, this isn’t actually Charlie’s beach house.
And here’s where things get really interesting. Much to his dismay, Charlie is soon joined by a witty firefighter (the brilliant David Wilson Barnes) , and finally, a daffy, high priced call girl (Played with sharp comedic skill by Anna Camp). Who are these people, where are they from, and why are they here? That information is revealed cleverly in a series of filmed flashbacks. The proscenium closes and transforms into a giant screen, in which we are presented the back stories of our four characters (and featuring some wonderful guest actors). Often hilarious, and occasionaly devastating, these filmed segments inform and amuse, simultaneously allowing Braff to flex his film-making muscles.
To reveal much more than that would be to spoil the play, but the plot threads and characters come together in ways that are surprising, satisfying, and remarkably moving. You see, “People” is cut from the same dramatic cloth as Braff’s “Garden State”. Similarly , we meet a main character (from New Jersey) who’s ultimately depressed, and entirely tuned out from life- reeling from a tragic act which they can’t seem to escape. But the difference here is, where “Garden State” traded (successfully) on indie absurdity and a winning soundtrack, “People” trades on its humor, heart, and wonderfully developed relationships (and performances).The laughs are plenty (Braff’s writing here is akin to an R-Rated Neil Simon)-but most impressively to me, the play manages to be complex, and incredibly touching. In a way that I haven’t seen on stage, Braff illuminates the isolation of this generation, the connections we seek, and the search for spiritual answers in a universe that seems insistent on denying them.
In promoting the play, Braff said in an interview “In theaters and film, you see either “I’m religious, or I’m an athiest. I’ve never seen to much discussion of “I believe in a higher power but I’m hesistant to reach out to him”. He’s right. The play doesn’t shy away from large questions. It’s completely refreshing to see work of art raising spiritual questions without making blanket statements or conclusive judgments.
On some level, we are all searching for God, love and human connection. In fact one could argue that to many people, they are one and the same. Braff doesn’t shy away from exploring how in the 21st century, that very search has become an arduous task. We live our lives behind computer screens, electronic displays and cellphones. So when the play reaches its denoument, its not only devastating, its life-affirming. After 90 minutes of high comedy, clever plotting, and shocking revelations- the play concludes simply with 4 people- laughing, sharing, and connecting, despite all of the pain, isolation and darkness in their respective lives. Finding and sharing love, in any capacity. Perhaps to an older generation this might seem naive or simplistic, but it resonantly spoke to mine.
The response from the audience was very kind, and the laughs were constant, but I noticed the older crowd seemed a bit more muted. Only I, and a few others of my age range launched into the spontaneous standing ovation at the finale. It’s fitting- Braff’s work has always swayed to the younger generation. But, to me, this play hit on the Generation Y paranoia, frustrations and yearnings in a way that I simply haven’t seen demonstrated. It is most definitely a companion piece to “Garden State”, but in fact, it’s an older and wiser brother. Simply put, its terrific. It appears the theatre has found a wonderful new voice, with a very vibrant soul.
At this time, Second Stage’s Production of “All New People” has closed. But there will be other productions, and potentially a film.
Until next time.
-B
