11, September
Capitalizing on the infamous date of 9/11 as a catalyst for personal tragedies, Paul Kampf’s two-hander play strains against incredulity as a series of improbable events reveal a shared past between ill-fated lovers. Vague allusions to chaos theory and randomness principles provides some context for the arbitrary way these strangers hook up, but does not fully explain why these self-effacing characters divulge their deepest, darkest secrets in a pillow-talk turned confessional.
What starts as a casual encounter for aimless server Angela Madison (Liz Rebert) and an ex-patriot mathematician, Martin Healy (Paul Kampf) becomes an examination in causality. Despite the constant interruptions of Angela’s phone ringing and a run-in with her jealous ex-boyfriend Doug, their one-night stand develops in a matter of days into reflective commiserations on past loves, painful childhoods and the lingering what if’s in their lives. The suspense steadily builds with each new revelation leading to a shocking discovery and climax.
But for all the philosophical references and hairpin turns, the contrivances begin to wear thin. Too much, too soon is said between strangers harboring tragic pasts, and without anything more than a strange attraction as explanation, their lives literally turn into an open book. The push-pull dynamic eventually exhausts itself when character choices are made out of necessity of plot rather than from plausible motivation such as Martin’s return to Angela’s apartment while she’s out, Angela’s mysterious midnight calls, and the happenchance on finding her journal. All of these lead to a shattering denouement, but Kampf raises more questions than he answers, much like Martin’s bookended speeches on the accountability of 9/11 and the choices we make.
Effective direction by Gita Donovan adds to the rising tension and makes the most of otherwise static situations with clarity and precision. Lighting design by Bosco Flanagan creates a moody atmosphere through the curtain drawn windows of Angela’s disheveled apartment and urban noise such as traffic—with the occasional plane rumbling from nearby LAX—completes the heightened sense of realism.
Individually, the actors give terrific performances, particularly Paul Kampf’s sensitivity that shines through uptight, academic Martin. Together, the chemistry is awkward and forced. Liz Rebert almost appears mechanical in her seduction scenes and Kampf at times seems stifled and impassionate. Considering how much one has to suspend disbelief throughout it is doubly imperative these two have a genuine, magnetic attraction given the connection they share.
11, September marks the debut of Chicago-based Breadline Theatre Group’s first production in Los Angeles.
“11, September”
Runs through Feb 7
Wed, Thurs, Fri and Sat at 8pm