Malcolm Barrett, James Urbaniak and Evangeline Edwards (Photo by Zoe Tiller)
Reviewed by Terry Morgan
Odyssey Theatre
Through March 3
RECOMMENDED
One of the main pleasures of history-based plays is reexamining subjects from a new perspective. The life of Mozart was forever altered in people’s perceptions after Amadeus opened. The term “witch hunt” to describe something other than the Salem trials likely was influenced by The Crucible. John Ross Bowie’s sharply funny new play, Brushstroke, presents some little-known Cold War history that should surprise most viewers. This terrific production at the Odyssey Theatre, a world premiere comedy thriller, is a witty and entertaining look at how art and government meet.
In 1956, in an artist’s studio in Manhattan’s East Village, Marvin (Malcolm Barrett) shows up unexpectedly to speak to painter Ted (James Urbaniak). He tells Ted that he represents a group called The Congress for Cultural Freedom, an organization that provides patronage to promising artists. Ted and his sister Susan (Evangeline Edwards) are somewhat suspicious of this largesse, so Marvin admits that the group is sponsored by the US government in an attempt to influence and support liberal arts to culturally resist the Soviets. As the trio becomes friends, Marvin – a true art lover – becomes more influenced by the artists’ lifestyle than they do by his rhetoric, and he begins to question the purpose of what he’s doing.
Barrett delivers the first great performance of this young year as the sincere and empathetic Marvin. He hits all the comedic beats brilliantly but also creates a complicated and memorable character through his detailed portrayal. Urbaniak is forceful and bluntly funny as Ted, perfectly delivering a sarcastic line such as: “That’s the thing I love about capitalism; it never killed anyone.” Edwards, who was so great in Heroes of the Fourth Turning last year, is again impressive as the underappreciated Susan who, despite dealing with sexism, forges her own path regardless. Finally, Brendan Hines does strong work as Marvin’s government handler, hitting all of his laugh lines with an undercurrent of menace.
Director Casey Stangl gets excellent performances from her cast, but her staging seems somewhat visually static. Bowie’s play is intelligently written and very funny (one character is described as “prematurely antifascist”), although the serious material lands a bit more awkwardly than the comedic stuff. The subject matter is quite compelling and the play’s conclusion is unexpectedly powerful. On the basis of Brushstroke and his outstanding earlier Ramones play, Four Chords and a Gun, Bowie is someone to watch out for as a playwright.
A visiting production at the Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles; Thurs.-Fri. 8:00 p.m., Sat. 2:00 & 8:00 p.m., Sun. 2:00 p.m.; through March 3. odysseytheatre.com. Running time: 90 minutes with no intermission.
