I had the opportunity to see the off-Broadway premiere of the show last spring (though I did not review that production) and when I found out I would be in town for its L.A. debut, I had to make sure I saw it. This is a brand new production - the only hold over is Ashley Griffin (the author of the piece) reprising her role as Eloise.
I was (and am) a huge fan of the off-Broadway production. It was one of the best things I'd seen in a long time, and I'm still frustrated that it didn't transfer to a longer NYC run. I was nervous when I heard that the show would have a brand new team, but, I have to say, for me, this new production is, at least at the moment, the definitive one. As much as I loved the show off-Broadway, the L.A. production reveals elements of the original that weren't as strong as they could have been. I didn't think it could get much better - but it turns out, it can, and, I believe, that's down to an incredibly strong new team who serve and seek to match the brilliance of the writing... not just allow the writing to do all the heavy lifting (which, let's be clear, it's more than capable of doing.)
"The Opposite of Love" is a two hander (meaning there are only two people in the cast.) Accurately described as: "If 'Pretty Woman' was a 'Black Mirror' episode sans tech", the show follows Will (Evan Strand in the L.A. production), a down on his luck hustler, and Eloise (Ashley Griffin), a trust fund baby, who form an unlikely bond when she hires him to help her move past her sexual trauma. But their search for intimacy must survive darker inclinations in a world where love is a commodity.
The piece takes a perfectly sharpened scalpel and reveals the horrific inner workings of the state of all forms of intimacy in our culture. If you have ever gone out on a date, felt isolated and lonely, or pretty much had any interaction with another human being, you will feel seen by this play.
For anyone out there familiar with Blake Snyder's work (he brilliantly deconstructed dramatic writing structure,) the off-Broadway production felt more like a "Buddy Love" story that served as a metaphor for the world at large. But in the L.A. production I was suddenly overwhelmingly aware that leaning into that genre was a disservice to the piece. In reality, "The Opposite of Love" is an "Institutionalized" story... and, much like "Black Mirror" (hence the apt description), the "institution" here, is our culture. Eloise and Will are both victims of our, very real, very "fucked up" society, in opposite ways and, much like a Shakespearian tragedy, that's what dooms them from the start. The tag line for the show, "this is not a love story" is to be taken seriously, no matter how much we want to fight against the tide and wish that it was.
Melora Marshall was a brilliant choice to direct this piece and is a fantastic new addition to the team. The NY director has been mainly known for experimental, edgy new musicals and now, having something to compare it to, I see how the NY production leaned a bit into stylization (including overly fast pacing in sections), detailed lighting, and occasionally moving the actors for the sake of moving them. Marshall, conversely, is known as an expert of the classics - both as a director and a performer. She is clearly an actor's director, bringing out the language, meaning and nuances of the text, and the absolute best in the performers in a profound way. One review called "Opposite": "The great new American classic." This production solidifies that as absolutely true, and Marshall's guidance is profound in revealing that in the piece.
Evan Strand is a lovely, interesting Will. He is a "bro" who finds himself forced to, for the first time, be vulnerable and sensitive. He is handsome, and boyish, commanding and playful. Even traumatized Eloise can't help but be a little seduced by him from the word go. The man can turn the line "You want me to fuck you?" into the most sensual statement, that can only illicit the reaction of "yes, please" from every member of the audience. Such a moment (and many aspects of Will's character and story arc) could, in the wrong hands, possibly go the route of toxic masculinity - indeed the off-Broadway production felt like it was always a LITTLE too scared that SOMEONE might interpret SOMETHING in that way, and was working so hard to avoid that that it never really relaxed into certain elements of the piece. But the L.A. production just simply...isn't. Strand is powerful and sexy in a way that makes you want to melt into him - he's not trying to "check off boxes" to make it clear that it's "ok" to melt into him. One element that Strand brings that's extremely helpful is you're really never sure what Will's MOA is...is he playing a game? Is he lying? Or not? There's always a little bit of danger to his Will, and that is absolutely necessary for this piece to achieve its full potential. I will say that there are times when Strand seems to be stumbling with the language, and gives a bit of "film actor doing a play..." With some more theatrical drama experience he could absolutely soar. The language of this piece is so fantastic that it becomes a bit painfully apparent when it's not being honored. Perhaps that will be remedied as the run continues.
If Griffin were performing this role on Broadway she would win a Tony for it (lets be real, if it were on Broadway she'd win a Tony for her writing too..) This may seem extreme praise, and believe me I don't give it lightly, but watching her I was reminded of the famous story of Laurette Taylor, the original Amanda in "The Glass Menagerie" who, after her Broadway success, was invited to screen test in Hollywood. She was not given a contract because her acting was so good the people doing the screen test didn't realize she was an actress... they thought she was a doddering old lady who had wandered in off the street (which the character she was playing was, but Taylor, in reality, was decidedly not.) That's the level of performance Griffin is giving. It's Eloise, not an actor on stage - and not in a dangerous, "meta" way, but in the masterful creation of a living, organic, complete human being with unbelievable layers of complexity. That's down to Griffin's complete control of her instrument, and the bravery of her performance. Her physicality and use of her voice are stunning, One previous review said she "wears her body like a costume" and that's a perfect description. The way her physicality, and voice, are used, and change to further illuminate the character is amazing. She is vulnerable, strong, intelligent, innocent, powerful, funny, fragile, "hot", heartbreaking, etherial and everything in between. No wonder she stayed with the show after the off-Broadway premiere - the team would have been crazy not to hold on to her with both hands! Her work has only deepened and become more nuanced and the new direction has helped her blossom. And the fact that she also wrote the piece...we are watching a master at work.
Griffin and Strand are formidable opponents... and by "opponents" I mean who is "on top" at any given moment in the game of safety, care, power and desire that is at the core of any intimate interaction (the very fact that it is a game is what makes it a tragedy.) Griffin's performance has changed with the new direction by Marshall and being paired opposite Strand. She is still brilliant and enigmatic, but it feels like she was allowed to relax into the delicacy and vulnerability of the role. Danny Gardner played Will off-Broadway (and I loved him), but his Will wasn't really hiding anything and Griffin's Eloise was doing the work to, as necessitated by the story, make us question his motives... With Strand, we are never truly certain what Will's intentions are...if Eloise has at last found her "soulmate", or, instead, a brilliant manipulator. This makes the last scene absolutely soar! Without giving away any spoilers, off-Broadway the final scene allowed us some level of comfort to, if we so chose, dismiss some of the questions the play forces us to grapple with. Here, there is no possibility of dismissal or looking away. Conversely, Gardner and Griffin had an unforgettable on stage bond, and the love between them was palpable. While Strand's interpretation may actually be a bit more in line with how the character is written, there's not quite the same epic connection between them... which there are pluses and minuses to.
I will say that chemistry between Griffin and Strand is wonderful (though at this point I think Griffin could probably have chemistry with a brick wall). They're both certainly "hot" and "hot" together, but what will really blow people away is the emotional, intimate chemistry. Watching them connect as PEOPLE at times feels so honest and real it's like we maybe shouldn't be in the room observing. And when things do get more physically intimate, despite what people may imagine, "hot" is not the word I'd use. Well, not the only word I'd use. More importantly, it is the purest, most moving representation I've ever seen of the depths of what physical intimacy between two people can, and probably should, be. It is beautiful, loving and deeply, deeply moving. Celina Lee Surniak did fantastic work as the intimacy director of the piece. These moments of intimacy are the farthest thing from gratuitous. They instead wrap you in a feeling of safety, care, and the most beautiful outlet of "desire" imaginable. At one point Will says: "But if you weren't afraid...if you and the person you love were just going to show each other, with your bodies, how much you love each other, what would you do? What would you want him to do...if there was nothing to be afraid of?" Oof. I don't think many of us have ever asked ourselves that question, and thinking about the answer certainly hit me in the gut.
The design elements are fantastic and a huge step up from New York. Omar Madkour's lighting is intelligent and deeply effective. The set by Joyce Hong and You Chen Zhang is incredibly well thought out - everything down to the coasters on the coffee table are perfectly chosen to reflect the blend of incredible wealth, Rapunzel-like solitude, and Eloise's enchanted taste, that are required of the scenic design of this piece. The use of levels is fantastic and a brilliant marriage between the direction and design. The costumes by Sage Barrie are pitch perfect - with many wonderful hold overs from the previous production, but with refined updates that lend clarity and nuance. And what an inspired choice it was to have original music composed for this piece. Having an original "score" for a play is a terribly under utilized theatrical element, but it can raise a piece to new heights. Marshall McDaniel is the sound designer, and original composer and what he does is extraordinary. He combines Eloise and Will's worlds brilliantly while creating unique and deeply moving leitmotifs (as much as a leitmotif can exist in a play) and utilizing unusual sounds almost as unique instruments. There are subtle but incredibly effective uses of moaning, sighs, and other such sounds that one often can't tell if they are, well, that, or traditional percussion instruments. And when he uses them is incredible commentary on what's happening in the story. It's so effective that I would love to purchase the music as an album.
If anyone's been wondering where the new great writers are, the Great New American Dramas, this is it! Broadway and Hollywood would be so foolish to not snatch up this property. In the '90's it would have been Oscar bait. The way Griffin constructs the story feels like we are in the hands of a chess master, and the language is so beautiful, while still being honest and organic. Every word feels like it was chosen with perfect care, arranged and showcase in just the perfect light. There are so many lines that will stay with you. I have no idea how old Griffin actually is (she reads in her late 20's onstage in this piece,) but her wisdom as an artist is vast. She has a tremendous career ahead of her.
This is the kind of piece that we desperately need, and I hope it goes on to a long future life so that as many people as possible can see it. THIS is the kind of art we need right now. It's urgent, immediate, utterly unique and incredibly powerful. It's no wonder that it's being spearheaded by Neil Gooding - a Tony winning producer. He clearly has good taste, and I hope the show is taken on to the life it deserves. It's rare that a piece like this, incredible, but without a Broadway pedigree, comes to L.A., and audiences should RUN to see it while they have the opportunity.
John Davis
THE OPPOSITE OF LOVE is currently running at The Hudson Theater in Los Angeles. For tickets, please visit: https://www.onstage411.com/newsite/show/play_info.asp?show_id=7383&skin_show_id=32.7383
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