‘Middletown’ Lights Up the Loeb Mainstage

Charged with heart-wrenching emotion and earnest appreciation for the wonder of life, “Middletown,” which runs April 24 to May 2 on the Loeb mainstage, excels both as an engaging production and as a broadly resonant contemplation of humanity itself. What begins as a comical tour through a comfortable, generic town characterized by nothing more than a pleasant sameness and mediocrity quickly becomes a reflection of the subtle but ever-present existential anxiety that underlies everyday life.

The play revolves around the lives of several ordinary citizens of Middletown: Mary (Taylor Kay Phillips ’15), a woman who is soon to become a mother; John Dodge (JJ S. Longcroft ’15), a handy-man between jobs and searching for human recognition; and an alcoholic mechanic (Aidan C. Campbell ’17), filled with unrealized ambition. The cast portrays each character with intensity, realizing them with distinct individuality by paying special attention to their distinct parts, such as John’s rapid hobby switching or the town police officer’s way of remembering the identities of the townspeople by recalling their addresses. In doing so, the actors emphasize relatable pieces of each character.

The first act begins slowly. It plods along, alternating between metaphysical musings and quips on the absurdity of modern life. While the writing of the production itself is witty, the play’s brand of existential humor would likely have fallen flat without each cast member’s quick and smooth delivery, which ensured laughs from the audience. At one point, Campbell talks about his volunteering at the hospital, saying, “It was part of a plea deal, but then again, what isn’t?” While this might sound like a facile or trite joke, Campbell’s natural delivery of the line, combined with a strong sense of cohesion with his cast members, makes these quips sound more like natural musings than contrived platitudes trying to masquerade as comedy.

The production team’s creative choices shine in the second act, when musings about the wonder of life are replaced by each character’s fight against the inescapable feeling of loneliness. The stage, which extends to the audience’s seats, brings a sense of intimacy to the production as actors come and leave through the same exits used by the audience. The cast uses this proximity to their advantage, almost interacting directly with the audience. This further breaks down the emotional barriers between the actors and the audience, making the production feel more like a real event and less like a play, a technique that is especially effective in the more dramatic second act. The original music, composed by Samuel C. Pottash ’16 for the production, emulates quiet, atmospheric ’90s guitar-driven indie rock. While largely bland, the soundtrack occasionally hints at complexity through undertones of anxiety, which feel appropriate for the setting and sameness of “Middletown” and fit in with the show’s ethos.

However, what truly shines about this performance is the earnestness of its acting. As the mechanic, Campbell delivers a powerful and self-aware performance about his own failures in life, his desire for human connection, and his own modest ambitions. His wish to just “calmly know love on Earth” is conveyed with such raw vulnerability and emotion as to lend credibility to something that sounds like a mere platitude. Likewise, Longcroft’s performance as John is wrenching in its sincerity. He succeeds in showing John’s self-awareness, both of his own simplicity and his failures. As John contemplates his desire for human recognition with total openness and frankness, it is utterly impossible to not empathize with his character.

Middletown” is a play that could very easily have fallen into the trap of triteness, of poorly delivered philosophical musings that everyone has wrestled with, failed to resolve, and simply decided to mask forever. Instead, the production, by putting these emotions and questions into context through powerful acting in the context of a well-constructed and engaging set, gives them a voice. In a world where it has become gauche to acknowledge the need for human connection and childlike to wonder about the sublime beauty of life, this production of “Middletown” takes the risk to address these questions head on and with authenticity.