American Sligo

Rattlestick Playwrights Theater

I chose this because it was becoming obvious in the New York Times that a new Adam Rapp play is something to quickly put on the review list, something most critics now expect to be good and a play to be contended with.

I was pleasantly surprised after skimming the review, but I couldn't compare it to Rapp's earlier plays so came in with probably lower expectations.

Having seen so many Broadway plays this year I almost forgot the very good reasons for seeing Off-Broadway plays simply because it's been awhile since I saw a good one. Some of the larger Off-Broadway houses don't count here, like Signature, the Public and Roundabout. Sometimes the smaller productions in the out-of-the-way houses leave you extremely satisfied, puzzled and thinking long after the proverbial curtain falls.

And, so it was with American Sligo. Because Rapp, assuming an intelligent theater doesn't spell out his point, and doesn't really have to. His point creeps up on you after your 45 minute commute home. And, I have to say it was provocative and I loved it. His question is basic. The play assumes that Americans recognize that we live in a uniquely violent culture. Rapp asks the question: where does the violence come from? More specifically, what is innocent and what feeds it?

The audience is left to judge some of his suggestions as to whether they fall on the innocent side or the side which feeds actual violence: video games, pro-wrestling (which portrays violence but is acted), drugs, stories about violence, seemingly empty threats, violent fantasies and aggressive sibling behavior being allowed. There were probably more, but it's been a few weeks since I saw it.

Another question is--when do we say no and to what? We introduce it into children's lives very early. It is either entertainment or is something to aspire to. Where does it start and where does it end?

The script wasn't messy, for all of its ideas. It was ably performed and produced. I think I read that Adam Rapp himself directed it, although I might be mistaken. There was ample comic relief to temporarily distract the audience from the serious questions and themes on stage.

I walked away a fan and now understand why a new play by Adam Rapp deserves attention. He's obviously a talented playwright. I have no idea of his working methods--whether it's easy or difficult for him--but, he certainly has what it takes. And, one can only hope that he's prolific for many years to come.