Brain Problems
Reviewed by Lara J. Altunian
Ammunition Theatre Company
Through May 19
RECOMMENDED
Ammunition Theatre Company’s Brain Problems is a surprising voyage through one man’s attempts to navigate a serious medical diagnosis. Multi-perspective narration and song-and-dance numbers are just a couple of the ways in which writer/creator Malcolm Barrett has chosen to tell this story, heavily inspired by friend Thomas Mejia’s condition. The result is a fast-paced, entertaining exploration of imagination, only dampened by a slightly questionable ending.
Donnie (Barrett) is frustrated with his recent diagnosis of what he calls “brain problems.” In his case, this means an arteriovenous malformation (AVM) in his frontal lobe. The intertwining web of blood vessels have led to a myriad of complications, including short-term memory loss, occasional confusion, and the added threat of a potential aneurysm if he gets too excited. “I could die at any moment,” he continually reminds many members of his closest companion Emma (Kim Hamilton)’s friends, a company of “life activists” who do community theater work and are holding their latest meeting in his apartment. Among them are sweet Zoe (Tina Huang), her obnoxious best friend and potential love interest Josh (Jason Ryan Lovett), Zoe’s kind and possibly closeted homosexual boyfriend Ray (Michael Feldman), and Cynthia (Brit Manor), a woman with whom Donnie is instantly smitten.
Donnie uses his brain problems as an excuse to question and interfere with the lives of the group, hiding behind an apathetic attitude as a way to distract from his personal circumstances. He compares their real life reactions to how things play out in his imagination, showing the audience both sides, and sometimes confusing the two, all while slowly revealing more about the AVM symptoms and his developing prognosis.
Barrett’s constant breaking of the fourth wall gives viewers a good dual perspective that fully allows us to understand what he is going through without getting too textbook about his condition. He elaborates on each new situation thoroughly, almost manically, without making the narrative feel rushed or overbearing. Clever dialogue lightens the piece with ridiculous moments of well-played humor, without diminishing AVM’s gravitas. Politics play a small, but important role in the plot, adding meaning to the story as Donnie struggles to find purpose in day-to-day living. The conversations between the characters often openly and consciously toe the line of inappropriate humor, without offensively crossing it, making the play a good, new-age comedy of the times.
The production is definitely a blast. The only two things that interfere with my positive opinion of it are a few scattered moments of vague, but enjoyable narrative intervention by Malcolm (Brandon Scott), a figment of Donnie’s imagination, as well as the ending. Malcolm’s third person angle is meant to add clarity to Donnie’s perception of the events taking place around him. However, the manifestation comes from within Donnie’s mind, so his point of view creates another unreliable source of information, often diffusing the character into a goofy distraction that only adds to the hullabaloo on stage. Although this serves as a representation of the increasing uncertainty Donnie experiences as he gets worse, there’s already so much going on within the play that Malcolm’s role, though funny, feels unnecessary.
Additionally, Brain Problems’ surprising conclusion, which comes abruptly after a climactic point in the story, is so quick that it feels dissatisfying, even if it mirrors AVM’s ability to turn your life upside down on a dime. As an invested audience member (thanks in no small part to Barrett’s performance, as well as his writing), you can’t help but feel a little cheated.
The ensemble as a whole does a good job of pushing the story forward, rolling seamlessly with much of the (literal and figurative) insanity taking place on stage. Amanda Knehans’ simple set design allows for plenty of movement as the cast navigates through a few fun dance numbers (choreographed by Manor). Bernardo Cubría’s direction manages the chaos well, keeping it from completely overwhelming the viewers.
Though the finale wasn’t my personal cup of tea, others may find it more than appropriate for the show. Mental and “invisible” disorders such as Barrett’s friend’s are tricky to portray on stage. This production does a good job of showing you all the rockiness that comes with having health problems.
The Pico, 10508 W. Pico Blvd., Cheviot Hills; Fri.-Sat., 8 p.m.; Sun., 7 p.m.; (understudy performance Thurs., 5/2, 8 p.m.); through May 19. (323) 798-5389 or https://www.eventbee.com/event?eid=118074323#/tickets. Running time: 90 minutes with no intermission.
