‘The Humans’ transfers to Broadway

‘THE HUMANS’: (left to right) Reed Birney, Jane Houdyshell, Sarah Steele, Arian Moayed. Photo: Brigitte Lacombe

THE HUMANS
Written by Steven Karam
Directed by Joe Mantello
Helen Hayes Theatre
240 West 44th Street
(212-239-6200), www.thehumansonbroadway.com

By Scott Harrah

Dysfunctional family dramas have become a staple in American theater, but Steven Karam’s The Humans, which just transferred to Broadway after a brief run at the Roundabout Laura Pels, is the rare exception of such a play that resonates with a natural universality. Think of this as a one-act, abridged version of Tracey Letts’ August: Osage County with a supernatural twist. Director Joe Mantello has left everything from the Off Broadway version intact, from the fine cast to the unique, split-level set depicting a bare bones Manhattan basement duplex apartment.

Steven Karam, best known for his 2011 drama Sons of the Prophet, establishes himself as one of America’s leading playwrights here with the saga of the Blakes. The family has traveled from Scranton, Pennsylvania to spend Thanksgiving with daughter Brigid (Sarah Steele) and her boyfriend Richard (Arian Moayed) in their new Chinatown abode. In 95 minutes, we learn about the many troubles of the family. Brigid and Richard are swimming in student loan debt. Brigid’s parents Erik (Reed Birney) and Deirdre (Jane Houdyshell) are in their 60s and have mounting financial troubles, plus the burden of taking care of Erik’s mother, Momo (Lauren Klein), suffering from the late stages of Alzheimer’s. Older daughter Aimee (Cassie Beck), an attorney, is grappling with a debilitating health problem and a lackluster love life (her girlfriend recently dumped her).

Throughout the show, we hear strange sounds, many of which Brigid blames on an elderly neighbor, while others are attributed to a trash compactor. As the show progresses, the sounds become stranger and more jangled and disturbing. Are these the sounds of the neighbor, typical street noise in Manhattan, or something darker and more sinister? This is one of the many enigmas never explained.

The story has all the elements of a crisis-by-the-numbers, formulaic drama, but what sets it apart from others is the crisp, often hilarious dialogue and the onstage chemistry of the cast. Besides the personal turmoil of each character, there isn’t much else to the plot other than everyone is gathered to spend the most iconic American holiday together. The Blakes are folks who are much like many struggling middle-class Americans in the 21st century. They struggle to keep and find jobs and make ends meet and argue about religion and values, or even things as trivial as organic “super foods.”

What’s most remarkable here is the great ensemble acting, expertly directed by Joe Mantello. Mr. Birney and Ms. Houdyshell truly standout, but credit must also be given to the technical and set wizards of the show: David Zinn for his innovative scenic design; the lighting design by Justin Townsend; and the sound design of Fitz Patton because The Humans relies heavily on the set, sounds and lighting to evoke the mood and take the audience on an emotional ride that is already one of the 2015/2016 season’s most-talked-about dramas.

Edited by Scott Harrah
Published February 21, 2016
Reviewed at press performance on February 20, 2016

‘THE HUMANS’: Sarah Steele & Reed Birney. Photo: Brigitte Lacombe