LOOK HOMEWARD, ANGEL
In what may be the slowest lights-up in New York theater, the first cue of Grangeville takes several minutes to complete—perhaps a 400 count. But lighting designer Stacey Derosier isn’t being indulgent. Instead, she masterfully isolates the estranged voices of two half-brothers speaking on the phone. Caught in a void of blackness, neither has seen the other in years, their connection as distant as their respective locations—one in Rotterdam, Netherlands, the other in Grangeville, Idaho. This is unmistakably Samuel D. Hunter territory, and his newest play presented by Signature Theatre delivers a profoundly affecting experience. Already extended through March 23rd, this exceptional 90-minute two-hander deserves a broader commercial run as one of the season’s standout new plays.
The story follows Jerry (Paul Sparks), the elder brother, who reaches out to his younger half-brother, Arnold (Brian J. Smith), seeking help managing their ailing mother’s bills and online banking. Jerry also informs Arnold that he has been named executor of her will. This request pulls Arnold back into the past he fought to escape—a past marked by an insufferable father, a neglectful and homophobic mother, and a volatile brother. Having fled years ago to Amsterdam, where he married a Dutchman, Bram, Arnold has attempted to bury his trauma through his work, crafting dioramas of his hometown that once earned him artistic acclaim in his new overseas hometown. However, his recent creations have grown dark and introspective, alienating his audience—and his marriage is now following suit.
Yet Grangeville introduces more than just these two estranged brothers. With only a subtle lighting shift, Mr. Smith seamlessly transforms into Jerry’s ex-wife, Stacey, in a touching scene where two separated parents coordinate their children’s schedules. Later, Mr. Sparks assumes the role of Arnold’s husband, Bram, grappling with Arnold’s simmering resentment. These fluid, unembellished transformations—performed without a single prop or costume change—elevate the production into a tour de force of acting.
As with anyone who suppresses deep-seated pain, life becomes unbearable until the past is confronted. It is no surprise, then, that Arnold eventually returns to Grangeville, facing the ghosts of his past. Only through this reckoning can the darkness begin to lift, making way for light.
Jack Serio’s direction initially keeps the actors at an awkward distance, requiring the audience to shift their gaze from far stage right to left, evoking the relentless back-and-forth of a tennis match. This staging choice makes the first third of the play somewhat static. However, once the spouses enter the narrative and the characters engage in closer, more intimate exchanges, the staging improves significantly. Then, in the play’s final third, a striking theatrical shift occurs—a breathtaking surprise executed with brilliant scenic design by dots. From that moment on, Serio’s staging soars.
Tears will undoubtedly fall as these brothers embark on a journey toward understanding, forgiveness, and redemption. In the play’s silent final moments—framed by luminous white light—the actors make the bold choice to let the moment breathe, resisting the urge to rush. And then, simply, “there it is,” healing has begun. A breathtakingly beautiful play.
photos by Emilio Madrid
Grangeville
Signature Theatre
Alice Griffin Jewel Box Theatre, Pershing Square Signature Center, 480 W 42nd St.
90 minutes, no intermission
ends on March 23, 2025
for tickets, visit Signature Theatre
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