BWW Reviews: Woolly Mammoth Premieres Posner's STUPID F##KING BIRD

Woolly Mammoth Theatre Company, led by the fearless Howard Shalwitz, has never been one to shy away from pushing the limits of theatre. Its premiere of Aaron Posner's 'sort-of' adaptation of Anton Chekhov's The Seagull, is certainly no exception. The title alone, Stupid F##king Bird, is likely to turn some heads, as one character in the play opines. Like the play that inspired it, this adaptation offers a unique glimpse at the state of the theatrical art form and more broadly, the difficult pursuit of art and creativity. Angsty, raw, and real, this play does not shy away from the hard, but well-discussed philosophical questions about art, reality, love and life and what it all means. Yet, it does so in a way that's likely to engage contemporary theatrically savvy audiences like those generally found at Woolly.

Our protagonist, tortured director/artist Con (an appropriately intense Brad Koed) is seeking a new art form that's largely based in reality rather than fantasy. Using a mediocre and vapid but very pretty actress, Nina (Katie deBuys) to test out his work, he exposes his friends and family to his creation; it doesn't go quite as planned - like most things in his life.

In those few moments, we're introduced to an array of eclectic characters that inhabit Con's world and shape him in various ways - the successful (his self-absorbed actress mother Emma, played to perfection by Kate Eastwood Norris, and successful author Doyle played by Cody Nickell), the misfits (the initially gloomy Masha, charmingly played by Kimberly Gilbert, and the awkward Dev, played by Darius Pierce), and the wise one (Sorn, played by Rick Foucheux). In a series of fourth wall-breaking scenes, Con's complex world is revealed both in the play we're seeing and the one he is presenting (the two often bleed together). Suicide attempts, love triangles, unlikely relationships, successes and failures, and familial and romantic drama - there's pretty much every 'issue' but the kitchen sink.

Yet, somehow it all works (the details of which will not be spoiled here, because they need to be experienced). It's Chekhov, but not. Posner's 'here and now' language and tongue-in-cheek approach to the material suit the story quite well. Any attempt to be too 'cutesy' is thankfully, for the most part, avoided even as the fourth wall is broken down with a sledge hammer. Under Shalwitz's keen director eye, all actors excel in their roles and engage with one another in a natural and believable way - something of paramount importance for this kind of play to work. I'd even go as far to say that, collectively, they deliver one of the best ensemble performances I've seen this season.

The real and fabricated worlds of the play are 'built up' with the assistance of some well-designed sets (Misha Kachman), costumes (Laree Lentz), sound (James Sugg) and lights (Colin K. Bills). The sets, in particular, play homage to Chekhov's 19th century Russian world and highlight the highly theatrical nature of Con's world in a unique and innovative way.

This review seems pretty vague, right? All the more reason to check this one out...

Running Time: About 2 hours and 20 minutes, including one intermission and a brief pause between Acts 2 and 3.

Stupid F##king Bird plays through June 23, 2013 at Woolly Mammoth Theatre Company (641 D Street, NW in Washington, DC). For tickets, call the box office at 202-393-3939 or purchase them online.

Photo Credit: Stan Barouh (Kate Norris and Brad Koed pictured).