Next Fall

Sometimes, you get to see a play on Broadway and there are not movie stars in it and the play is well written, extremely well directed and acted and there is no mention of Greek tragedy or Shakespeare and it is not a remake or a retake on something else, it is a new play, and it is good and you sigh, “Okay, finally.”

Next Fall, if you do not know, deals with the short four year history of a gay couple going back in forth in time between the development of the relationship and a waiting room in a hospital after a car accident.

One guy is an atheist, the other a true praying Christian who feels he will not go to hell, even though he is a gay sinner, because he has accepted Jesus Christ as his personal savior. The couple struggles with their opposing world views but not so much that they break up, though they do get close to that. In any event, a careening taxi cab changes things for everyone.

I do not know how timely this play is or if it is the timeliest play of the day. I personally feel this is twenty year old news, but then I realize, shit, it is actually tomorrow’s news. Slow slow rows the boat.

This is one of those lovely success stories where a well established smaller theater company (Naked Angels) gets their play onto the big boards. I hope they make money. I mean, it is absurd what the theater owners charge for rent. But it is not in the hugest theater, the lovely Helen Hayes on 44th, so hopefully they will meet their costs and expectations. Hate to get all businessy about it, but since I am in this dreaded business where 70% of all plays do not make their money back, well, I get concerned.

So, with this I will say this. You could go see this play and you would enjoy it for its smart, comedic yet serious experience. And in doing so, you would be sending a message to the world, “We want to see new plays! We’ll do it! Star free ones! Bring them on!”
And you will get to hear Geoffrey Nauffts’ great natural dialogue and you will get to watch Maddie Corman’s, Sean Dugan’s, Connie Ray’s, Cotter Smith’s, Patrick Breen’s and Patrick Heusinger’s fantastic unforced acting all put together by the wonderful director, Sheryl Kaller. I mean, isn’t that enough? Is it?

Bravo.