The Water Tribe
Reviewed by Lara J. Altunian
EST/LA in association with VS. Theatre Company
Extended through February 16
Tribalism can be a double-edged sword. Though meant to bond people together, few things can make a group’s instigator feel more lonely than having their intention to unite lead to a rejection of their fidelity. Don Cummings’s world premiere play The Water Tribe explores the idiosyncrasies that go into the difficulties of forming your own clan. Though the concept is a good one, the play’s execution falls flat via a cast of stagnant characters whose unwillingness to change their early-identified problematic qualities drag the plot out without providing much resolve.
Claudia (Hannah Prichard) is a 20-something unemployed optimist without a family. She is in a high school–esque relationship with Johnny (Christopher Reiling), her boyfriend of three years who is also unemployed. Both are content to spend their days hanging out in the apartment Johnny’s mother Sydelle (Jayne Taini) has bought him, despite Claudia’s discomfort with Sydelle’s constant visits/interruptions. There they watch violent animal videos, have sex, eat pizza bagels, and do or talk about little else — their lazy, feel-good routine somehow doesn’t leave room for further substance in the relationship. Despite heavy, but accurate criticism from the few people in their lives, i.e., Sydelle, Claudia’s new sort-of-friend-from-work Brian (Jon Joseph Gentry), and her cousin/roommate Sonia (Alexandra Daniels), the two decide to get married.
In an attempt to steer Claudia away from settling down with Johnny and closing herself off from the rest of the world, Sonia suggests she go out and make a few friends. Claudia takes her advice to heart and decides to form her very own tribe with Johnny by attempting to unify the aforementioned characters, all while promptly pressing on with wedding plans. Meanwhile, Johnny gets a job as a janitor at a nearby Temple, and begins to meet new people who expose him to different philosophies. The contrived gatherings and Claudia’s unperturbed insistence at forcing friendships create problems, which come to a climax during the couple’s engagement party. The convoluted event results in the play’s predictable conclusion.
The simplistic plot is weighed down with dramatic details that appear important at the moment they are brought up, but ultimately deflate like unfinished subplots; they seem to solely serve to lengthen the play’s run. Situations such as a dying parent, the lack of clean water in a local neighborhood, and wild assumptions about communities in Africa all briefly come under discussion in what appears to be varying attempts at making statements about tribalism, but fade from the conversation almost as quickly as they are brought up.
Furthermore, Claudia and Johnny’s callowness comes across more grating than endearing. Their quirks and the slowly-revealed pieces of their backstory do help to soften the repulsive shell of their utter cluelessness. But after hearing the also-flawed, but miles-more-mature supporting cast consistently corner the couple and repeatedly spell out their obvious problems to them, it becomes difficult to retain any sympathy for the duo.
Prichard accurately portrays Claudia’s unassuming nature. Reiling, whose character is more laid back, also convincingly embodies the man-child that mirrors her inner insecurities. Gentry’s nuances make him the most likable character in the bunch, while Taini’s Sydelle, though also irritating at times, is the most sympathetic. Daniels does well as Claudia’s foil, turning what appears to be snooty judgement into quiet concern at the right moments. Her conversations with Claudia are the deepest and most meaningful.
Adam James Glover’s scenic design does the most with VS. Theatre’s tiny set, but odd placement and weak lighting and direction makes the location difficult to visually navigate.
Overall, Cummings’s play lacks focus. The need to belong is a universal feeling, and exploring that concept from the perspective of a character like Claudia adds nuance to the idea. However, as it is, her personality has the ability to turn the audience off from her antics, making her story far too little compelling to want to follow.
VS. Theatre, 5453 W. Pico Blvd., Wilshire Vista; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; extended through Feb. 16. (818) 839-1197 or https://www.estlosangeles.org/. Running time: 90 minutes with no intermission.
