THE BALUSTERS

Review by Celia Ipiotis

Neighborhood associations, a staple of many suburban enclaves, motivateThe Balusters by David Lindsay Abaire.  Their representatives decide on issues of safety, cleanliness, landscaping, historical landmarking and so much more.  Committed to retaining the neighborhood’s historical accuracy, the well intentioned group in Vernon Point is led by the  professorial Elliott Emerson (Richard Thomas) who curates the meetings and buries dissenting opinions by wielding a fierce gavel. 

A newcomer to the neighborhood and association, Kyra Marshall (Anika Noni Rose), prepares her house for the evening’s meeting. Kyra,  along with her new housekeeper Luz (Maria-Christina Oliveras)organize furniture and munchies for the group. Dressed in regular clothes instead of a uniform, upon instructions from Kyra, Luz is a recent refugee from Elliott’s home. Everyone who enters Kyra’s living room is surprised to see Luz — suggesting not all is well.

Traditionally, groups like this, present as civilized, socially astute, high-minded people who gather to deliver services that enhance life for all.  Ergo, what starts as a run of the mill meeting, reveals subterranean prejudices and brewing animosities. The social fissures accumulate with each succeeding meeting.

Suggestive of an AA meeting, people reveal much more of themselves than expected. When Kyla fears an imminent tragedy at her street’s intersection,  she recommends stop signs.  Unexpectedly, Elliot sabotages her proposition which is difficult to understand until much later.

Members issue plenty of niggling concerns from a neighbor dropping dog poop in residential trash cans to young men suspected of lifting objects from properties. Both issues are resolved when street cameras are installed. Interestingly, the cameras prove the boys are guilty, and despite some members’ objections, Isaac Rosario (Ricardo Chavira) offers them work with his construction company.

A sensational ensemble, The Balusters positions Penny Buell (the crackling Marylouise Burke) at its heart. Slightly scatterbrained, and totally mischievous, Buell is her own person. Very eager to please, Kyra considers herself socially progressive and a team player. In fact everyone believes they are fully functioning cogs in the wheel of neighborhood civility, historic and civic preservation.

Despite the overall desire to be socially magnanimous the supposedly progressive, and painfully politically correct neighborhood folks’ deeds prove otherwise. 

Spryly directed by Kenny Leon, Abaire’s deft descriptions of each character is realized through the way Leon showcases each character’s thoughts, discomforts and witty shenanigans.

This Manhattan Theatre Club’s production at the Samuel J. Friedman Theatre deploys a roller coaster of revelations.

EYE ON THE ARTS, NY — Celia Ipiotis