GATHER ‘ROUND THE TABLE, FRIENDS
In the Road Theatre Company’s play AT THE TABLE, a group of friends, together with invited guests, supposedly gather to enjoy one another’s company in a country home in the Catskills (NY). Reconnect. Support. Affirm. Recreate. Laugh. Unburden. Converse. Eat & Drink & Talk & Drink some more. Get the picture? In the process they explore the meaning of their friendship – its truths, its limitations, its surprises and its impact on their lives.
Playwright Michael Perlman delves into the politics of identity, certainly prescient in today’s society. Does it matter whether or not one is Caucasian, Black, Hispanic, Asian, Gay, Straight, Bi, etc.? What is the role of women in the 21st Century calculus? How do these aspects of one’s identity affect expectations, options, interactions and, more important, an individual’s own self concept. Six young professionals gather in a relaxed environment and the conversations burst in an explosion of cacophony as the play begins.
Justin Okin (“Stuart”) takes the floor initially to goad an invited guest, Avery Clyde (“Chris”) on the issue of abortion. The audience soon understands that it is Stuart’s M.O. to press someone until he gets under her skin (his understanding that Chris happens to be a feminist ensures that his proddings are finding fertile ground). When his skewering reaches an untenable moment, Chris releases a definitive salvo while going for the jugular, noting that Stuart has no role in expressing his judgment since he is a man. In short, Chris has no intention of becoming a pin cushion on this topic or any other for that matter.
Chris’ sponsoring friend, the gloomy and sardonic Ray Paolantonio (“Elliot”), now takes umbrage with her absolutist stance since that would translate into an equally relevant determination that she would have no say about whether or not he chooses to marry another man. The slings and arrows of heady conversation percolate above and below the surface, nursed by an abundance of alcoholic enrichment along the way. All the while the 
audience discern the comfort and sensibilities (or lack of same) among the participants in this community. Do they squirm? Do they lash out? Do they withdraw?
Another key revelation in Act I involves the second invited guest, Blake Young-Fountain (“Nicholas”), who has been recruited by Stuart’s girlfriend, Cherish Monique Duke (“Lauren”) as a potential match for the single and gay Elliot. Both Nicholas and Lauren happen to be black. When Chris goes into the kitchen, Nicholas observes the expressions on the faces of the two white, straight men. He offers that he knows exactly what these guys are thinking about Chris and makes a hefty bet with Stuart and their weekend host, Christian Prentice (“Nate”), on the accuracy of his conclusion. Needless to say, his guesses are right on the mark. Soon after, Nicholas prematurely exits the get-together. A crack in the carefully nurtured facade of comity emerges among these friends. A dispute between Nicholas and Lauren about the truth of her racial identity further heightens the tension within the home. Apparently, cracks are beginning to surface.
In Act II, after a year has elapsed, two new friends shake up the environment. First, Elliot finds a partner…finally. Nick Marcone (“Leif”) enters the picture, oozing in positivity and doing his best to lead Elliot in a similar direction. The other friends wonder if Leif has been with a woman previously and that becomes a cause celebre for the group. Also, Stuart seems to have found himself a new girlfriend, Jacqueline Misaye (“Sophie”), this time of part Asian heritage. 
Even so, Lauren still embraces her long-time friends. However, Chris and Nicholas are no longer part of the equation.
As these six friends continue to explore their relationships, Mr. Perlman challenges them to dig deeper and to discard pretense, yet he is careful to avoid imposing solutions to the often painful, personal discoveries. The answers (if there are any readily apparent) – he hopes – should evolve naturally after reflection. The dialogue seems especially authentic throughout the journey and is interspersed effectively with a heavy dose of humor. Of course, the play does not come neatly tied in a bow by evening’s end.
Lauren’s path in this play is perhaps the most difficult among the players and Ms. Duke handles the role’s high stakes with an inquiring attitude and admirable pathos. Another favorite in the ensemble for this critic is Mr. Paolantonio who comes through with flying colors, often serving as the center of attention. The bottom line: the entire ensemble does extraordinary work with this play.
Director Judith Moreland, with assistance from Justin Lord and contributions from Nina Sallinen and Dolann Adams as well, navigates the rough waters especially 
inherent in its most raw moments. She doesn’t shirk the opportunities for laughter, though, that are everywhere apparent. The challenge of orchestrating the rhythms of the play in overlapping conversations and pacing in general registers as a commendable achievement in my book. Likewise, the set design of Brian Graves tastefully fulfills the promise of the script. Well done.
All of us aim for a more perfect world and this play places the enormous challenges on full display. The work begins as all of us shoulder the burden and responsibility of listening and communicating with sensitivity and a more global understanding. AT THE TABLE continues at the Road Theatre on Lankershim thru July 20. Highly recommended.
pc: Lizzy Kimball
