THEATER REVIEW: THE MERCY SEAT

 

Aftermath

By Miranda Inganni 

Due to unfathomable tragedy, Ben (Johnny Clark) is given a chance to change his life.

Set on September 12, 2001, Ben and his boss, Abby (Michelle Clunie), are holed up in her huge New York City home, waiting -- literally and figuratively -- for the terrorizing dust to settle in Neil LaBute's play, The Mercy Seat, making its Los Angeles premiere at [Inside] the Ford.

Married with children, Ben can't decide if he should answer his cell phone as his wife repeatedly calls. If he talks to her, he'd have to tell her the truth -- that he's alive because he's cheating on her.

Abby is honest yet manipulative, while Ben is honest yet naive. Abby's bitterness blinds her and she can't let him forget that he's married. She holds it against him, even though they are both willing participants in their affair. Ben comes across as conceited --  removed and seemingly unconcerned with the reality of his life. They both want everything to be fine, which is, of course, an impossibility considering the circumstances. While they dust off the ash from outside (dusting off reality), they can't shake the anger and resentment they have for each other.

As Ben's boss and senior (she's supposed to be 12 years older than he), Abby is in the position of power and authority, but she is at his mercy when it comes to their love. They both toy with the idea of capitalizing on the tragedy unfolding around them (a perfect American opportunity a la Shock Doctrine), running away to live happily ever after, but even they seem to sense that it's a fallacy. Instead they play the blame game and exchange barbs. She pretends everything is all right, faking her reality, running to the market to buy his favorite cheese. He ignores his reality, switching off his cell phone so as not to be bothered by its incessant ringing and the inevitable conversation answering it would entail. As a result, neither one is very likable and both are petty.

Running approximately 100 minutes sans intermission, LaBute and director Ron Klier's The Mercy Seat -- which has nothing to do with the brilliant Nick Cave/Mick Harvey song, later covered by Johnny Cash, about the electric chair -- both versions are played/mixed before and after the play (it's a pretty lame title for the play) -- examines opportunity at the point of crisis (the same word in Chinese, so they say) and having the courage, or rather stupidity, to cease on it. Ben's plan to avoid confrontation with his wife is incredibly idiotic and childish. If one wants to label LaBute "misogynistic," The Mercy Seat is not the place to do it. Abby is far more sympathetic than Ben.

While there isn't much in the way of physical chemistry between Clark and Clunie, both actors do a fine job. Clunie has great stage presence (though she plays too much with her hair), and both she and Clark deliver spirited performances full of spite and underlying emotion; do they love each other or simply hate themselves? Unfortunately, Clark's performance is understated where Clunie's comedic timing is sharp, resulting in her stealing the show.

If the worst tragedies bring out the best in people, I'd hate to see what Ben and Abby would be like normal day.

The Mercy Seat runs through April 24 at [Inside] the Ford, 2580 Cahuenga Blvd., East, Hollywood, Ca. 90068. For more information: 323/461-3673 (GO-1-FORD); www.fordtheatres.org