By Manning Harris
fmanningh@gmail.com
Theatrical Outfit is presenting the world premiere of “Moxie,” a play by Lane Carlock and Brian Kurlander, directed by Elisa Carlson; it runs through Feb. 28.
The play was a winner of a new program at the Alliance Theatre called the Reiser Atlanta Artist Lab in 2013. Ms. Carlson shepherded “Moxie” through various “writing sessions, table reads, two workshops and staged readings,” as she mentions in her program bio; in addition, a showcase on the Alliance’s Hertz Stage in 2014, and finally Outfit Artistic Director Tom Key gave it the green light for a full production, and here we are.
No theatre in town has loftier thematic aspirations than Theatrical Outfit; for example, the theme for the current year is Season of Courage. In addition, “Moxie” tries to show us “the power of compassion and community,” “whatever affects one destiny affects all,” and especially “the power of storytelling, the potency of words, and the courage we must all summon to thrive and connect in modern times.”
These are important, noble ideas, and I don’t know who would argue or dispute them.
An American marine (Bobby Labartino) in Afghanistan skypes with his young son (Royce Mann) on the other side of the world, but they are too easily interrupted by gunfire. The dad decides to create a handmade book and send it to his son (“I promise!”). The unfinished Book of Moxie finds its way to a Parisian apartment owned by Madame (Carolyn Cook); then to the slums of India, and at last in an inner-city American school. “All who touch it are sparked to add their personal stories,” says the theatre notes, and the book takes on a mystical force on its serendipitous journey.
“Moxie” is greatly aided by some fine actors. Besides those mentioned above, you’re probably familiar with the work of David de Vries, Tony Larkin, Danielle Deadwyler, and Maria Rodriguez-Sager. There are also lovely contributions from Jaden Robinson, Joy Bhowmick, Chiara Bulkin, and Laura Fong. I believe that Rial Ellsworth is going to take over for Mr. de Vries the final week.
There’s a simple but evocative set design by Lizz Dorsey; costumes by Sydney Roberts; lighting design (and nice projections) by Mike Post; excellent music by Kendall Simpson; choreography by Sonia Chaudhori (this is not a musical!).
Even with all these elements, “Moxie” lacks a certain fluidity and cohesion that make for compelling drama. The various scenes too easily become a series of vignettes (some too long) that simply follow one another, and one’s attention begins to wane. This episodic quality does not work here; in my view (which is the only view I can offer) a little more play doctoring is needed for the piece to truly gel. In addition, sorry to say, the pace is often inexplicably slow and the blocking seems sedentary.
I think as the run progresses things will pick up and perk up; this often happens, especially when you’ve got excellent actors, and “Moxie” does. And it has those wonderfully hopeful, heartwarming themes.
For tickets and information, visit theatricaloutfit.org.
