From Up Here, a play by Liz Flahive at Manhattan Theatre Club; Good Boys And True by Roberto Aguirre-Sacasa at Second Stage Theatre.
Two plays about bad boys, but very different in range and quality. The more finished of the two was the first we saw - "From Up Here" a superbly penned and extremely powerful symphony of pain and recovery by Liz Flahive. The play deals with the plight of a family and in particular a mother who must reconcile with her son who has devastated his and their lives by threatening school violence. The cast is uneven but at the core, Julie White is magnificent as Grace and the young Tobias Segal gives an award worthy performance as the troubled Kenny and Brian Hutchinson is moving as the stepfather. The problem with the play is that the short burst scenes, punctuated by a rock and roll transition, perfected by the likes of Neil LaBute, is becoming a cliche. Still, "From Up Here" is a fine work and possibly could go to Broadway with a little more tuning.
The second play we saw "Good Boys and True" appears to be influenced by the notorious Duke Lacrosse scandal, especially as it deals with the corrosive feeling of entitlement conveyed to the students of elite prep schools. The meshing themes of entitlement, rape and homosexuality are not entirely reconciled, but "Good Boys and True" is nonetheless engrossing and with some more work could be a sturdy vehicle. It's still in previews at Second Stage, having originated in Chicago at Steppenwolf. Like "From Up Here," "Good Boys and True" suffers from uneven casting. The two boys Brian J. Smith and Christopher Abbott are terrific. Abbott reminded me of a young Robert Sean Leonard and should have a fine career ahead of him. The biggest problem is the pivotal role of Elizabeth, the mother, as played by J. Smith-Cameron. Smith-Cameron has a distinguished award winning resume and is not without skills, but she seemed totally out of her depth in the role of a patrician blue blood. Living in Princeton, we meet and know many "Elizabeths" and Smith-Cameron hasn't brought this role to life. She is brittle and stiff, but brittle and stiff are not what the upper class are, they are assured, infinitely confident and poised. Perhaps she will settle into the role. I've been told that the work has changed considerably since Chicago and it would appear that more work is in order.
From Up Here B+. Good Boys and True. B-