Spring Break
'Ashley' held back by fundamental flaws
Deborah Yarchun
Issue date: 2/17/06 Section: Entertainment
- Page 1 of 3 next >
"Appearances aren't what they seem in Gina Gionfriddo's wickedly funny satire." So says the blurb promoting the show. Having seen Philadelphia Theatre Company's Philadelphia premiere production of After Ashley, I have to agree - appearances aren't what they seem. This production had all the elements of a phenomenal show: original fresh writing from a gifted young dramatist, Tony Brathwaite, exceptional actors, a renowned director and enough talent to ascend Olympus. And it plays interestingly, but seemed to be held back by a few fundamental flaws.
The story follows this: After sixteen-year-old Justin's mother is brutally raped and murdered in his home's basement, he is celebrated nationally as the "911 Kid" for his refusal to leave his mother's side. The recording of his original 911 call is integrated into a rap song, and he is unhappily dragged into the spotlight on Court TV shows and a show that strikingly resembles Dr. Phil.
However, by the time we realize that this has happened in the play, it's all back story. The audience is left with two hours and thirty minutes of a scathing young man, embittered, as he broods across stage, occasionally spitting out snide remarks at any character who crosses his path in life. For perhaps one scene, he held my empathy; when he remained that way throughout the entirety of the evening, with the exception of the last scene, he became somewhat grating.
I don't necessarily attribute my difficulty in liking Justin's character to the script. Peter Stadlen, plays the role with charisma but on one single level throughout nearly the entire show. He operates on one level of angst, constantly leaning forward confrontationally. In addition, Stadlen's character doesn't seem to have an actual objective until over halfway through the play. When he does, the actions he ultimately takes seem to be deemed appropriate within the context of the play but are as equally, if not more despicable, than the antagonists of the show. By this point, I was out of patience and empathy. The character is unlikable, end of story.
The story follows this: After sixteen-year-old Justin's mother is brutally raped and murdered in his home's basement, he is celebrated nationally as the "911 Kid" for his refusal to leave his mother's side. The recording of his original 911 call is integrated into a rap song, and he is unhappily dragged into the spotlight on Court TV shows and a show that strikingly resembles Dr. Phil.
However, by the time we realize that this has happened in the play, it's all back story. The audience is left with two hours and thirty minutes of a scathing young man, embittered, as he broods across stage, occasionally spitting out snide remarks at any character who crosses his path in life. For perhaps one scene, he held my empathy; when he remained that way throughout the entirety of the evening, with the exception of the last scene, he became somewhat grating.
I don't necessarily attribute my difficulty in liking Justin's character to the script. Peter Stadlen, plays the role with charisma but on one single level throughout nearly the entire show. He operates on one level of angst, constantly leaning forward confrontationally. In addition, Stadlen's character doesn't seem to have an actual objective until over halfway through the play. When he does, the actions he ultimately takes seem to be deemed appropriate within the context of the play but are as equally, if not more despicable, than the antagonists of the show. By this point, I was out of patience and empathy. The character is unlikable, end of story.
Be the first to comment on this story