A Connecticut, Norman Rockwellish farmhouse (enviable and move-in ready as designed by the excellent John Lee Beatty) is decorated for Christmas. Outside picture postcard snow drifts down, while inside lighted garlands, colorful stockings, and a beautiful, old fashioned tree create a peaceful, domestic setting against bay windows.
Mare Winningham (Ginny); David Rasche (Bill)
The Dahl family has gathered, some willingly, some due to pressure, others of necessity – having literally no place to go. They robustly sing holiday songs (marvelous music supervision by Jacinth Greywoode) harmony existing only here – play musical instruments – piano, guitar, banjo are but three of a dozen, drink a punch bowl full of Manhattans, and proceed to erupt like corn popping on a hot burner. Grievances are revealed and judged.
Parents Ginny (Mare Winningham) and Bill (David Rache) – both actors reliably terrific – are no help. Ginny is steadfastly, conservatively religious and in denial of anything that doesn’t fit Christian credo. This includes outspoken, lesbian daughter Evie (a fine Rebecca Henderson) and her justifiably acerbic wife Pippa (Roberta Colindrez – deft) who put up with just so much disregard. Bill is loving and sweetly huggy but ineffectual, teetering on unaddressed Alzheimer’s.
Rebecca Henderson (Evie); Roberta Colindrez (Pippa)
Youngest child Diana (Shailene Woodley at her best) has a six month old baby upstairs about whose care she’s extremely stressed, and one on the way. The young woman is either a modern day prophet – replete with speaking in tongues – or mentally ill and suffering an ongoing breakdown. Proselytizing has the religious fervor of a liturgical drama.
Her feckless husband, ex-Unitarian minister, James Bennett (Christopher Lowell), doesn’t practice what he preaches. He’s supportive, but exhausted and frightened. The couple eschewed Evie’s gay wedding. “If you’d only believe and submit yourself to HIS love,” Diana entreats her sister. “it’s not a belief, it’s who we are,” snaps Pippa.
Christopher Lowell (James) and Shailene Woodley (Diana)
Johnny (Christopher Sears – just the right emotional layering), for whom Ginny insists on waiting to dine, is now sober, having twice been in rehab for heroin addiction. His doting mother glosses over any mention. With a top layer of holiday spirit yet roiled beneath, he matter-of-factly confirms his past when the subject is referred to by siblings. Johnny stays, perhaps defensively, somewhat apart. A somewhat long story about childhood chess championship exposes Ginny’s early control.
The so-called black sheep shows up with assumed girlfriend Loren (Barbie Ferreira). He is, in fact, her sponsor. Loren is quick, smart, liberal, and clearly out of place. She compliments the singing assuming aloud that it started in church where culturally co-opted songs flourish. (Pippa nods.) Emotional chaos is nothing compared to recovery, but the guest also has her limits.
Christopher Sears (Johnny) and Barbie Ferreira (Loren)
Ginny suggests eldest Mark (Zachary Quinto – we believe his despair and confusion) and wife Rachel (Molly Bernard – small cracks are adroitly delivered) – give up the guest bedroom to Johnny and the visitor. “I think as this is her first time, she should have the whole experience.” “Are we selling something?” Mark retorts.
Once a Yale divinity student, Mark became a lawyer – first clerking for Justice Roberts – hates it, and has quit. Religious belief bubbles up periodically like a latent geyser. He appears unmoored and can’t seem to take responsibility for anything. Mark and Rachel are having relationship difficulties. His bright, open-minded wife is in need of security and grounding for reasons we later learn. She also no longer believes in God, creating a marital chasm. Diana tells her sister-in-law she has a devil inside her. It’s the least of incendiary decrees. Rachel’s response would draw metaphoric blood from anyone else.
Molly Bernard (Rachel) and Zachary Quinto (Mark)
Leslye Headland has written a captivating play full of serious subject matter affected by faith or lack of it. Peppered with dry wit and music, however, instead of dragging us down, it elicits discussion. Group meltdown is beautifully engineered, what’s first implied, progressively stripped bare. There’s a lot to digest, but trajectories are never unclear. Does “cult” refer to the family, to religion?
Director Trip Cullman has done a virtuoso job. Every character is distinctly defined from the opening few minutes. Overlapping dialogue and small business are realistic. Songs rise organically in attempts to ease tension and confirm tradition. Cullman excels at subtle expressions of silent registration. No matter where you look, characters react.
The kids: Diana, Johnny, Evie, Mark
It’s a pity this is closing February Second. Cult of Love is splendid.
A call out is deserved to wonderful casting (many making Broadway debuts) by Jim Carnahan, CSA and
Liz Fraser, CSA.
Photos by Joan Marcus
Opening: Christopher Sears (Johnny), Barbie Ferreira (Lauren), Roberta Colindrez (Pippa),
Mare Winningham (Ginny), Zachary Quinto (Mark), David Rasche (Bill), Shailene Woodley (Diana,)
Rebecca Henderson (Evie)
Second Stage presents
Cult of Love by Leslye Headland
Directed by Trip Cullman
The Helen Hayes Theater
240 West 44th Street
