By Carole Di Tosti . . .
In the off-Broadway world premiere Pay the Writer, Tawni O’Dell (author of Back Roads), presents a Pulitzer Prize-winning novelist through the viewpoint of his successful literary agent of forty-five years. Currently at The Pershing Square Signature Center’s Alice Griffin Jewel Box Theater until September 30, the comedy-drama highlights the dynamic relationship between writer, Cyrus Holt (Ron Canada, Network), and his agent, Bruston Fischer (Bryan Batt, Sunset Boulevard).
The two literary giants negotiate their last days together while reviewing Holt’s successes, family disappointments and personal failures.
Director Karen Carpenter acutely shepherds the excellent cast and wends her way through the wordy dialogue, making sure the comedic elements are emphasized and the actors’ portrayals are on point. Despite the play’s two hours without an intermission, the pacing adheres. Though some of the scenes might have been shortened to maximize emotional poignancy and strengthen the relationship between Cyrus and Bruston, the conclusion satisfies, thanks to Canada and Batt’s fine acting.
Bruston opens with a phone conversation with a publisher, revealing his expertise arguing the highest price for his client. In a seamless transition, Batt’s Bruston introduces the play’s theme, speaking confidentially to the audience. He describes his exchange with another agent, who warned him to adore writers from afar, but recognize they are like feral animals. According to her wisdom, Bruston must never allow them into his house or become personally, or emotionally involved.
Ironically, Bruston never follows her advice. The play is his affirmation of the benefits of letting in a writer of the stature and genius of Cyrus Holt, one of the great African American writers of the time whose personal life is a shambles, but whose artistry is particular.
When we first meet Cyrus, Bruston confronts him about his latest novel which Cyrus has refused to give him to read. We see the effects of Cyrus’ success (thanks to David Gallo’s scenic design), and Bruston’s expertise in getting him fat publishing contracts.
Cyrus owns a luxurious condo with floor-to-ceiling panoramic windows that overlook Central Park. We discover his millennial wife (his fourth marriage), is shopping for a wedding dress for a celebration, which they never “did up in style,” when they first “tied the knot.” Unfortunately, their wedding may also be a sendoff for Cyrus’ funeral. He is dying of cancer and the prognosis looks grim since he has stopped all treatment and is going out “naturally.” This means he’s sucking up daily pain and is crotchety and sardonically humorous. Bruston responds to his surliness with equivalent retorts of ironic humor.
During their exchanges, we learn Cyrus’ first marriage to Lana (Marcia Cross) produced two children, now in their thirties. He deems them ungrateful, despite having given them everything they could want. Cyrus is estranged from his daughter and hasn’t seen his son in years. In fact, he hasn’t told anyone except Bruston that he is dying. He trusts his agent to keep his sickness confidential. However, because theirs is “the longest relationship” either one of them has ever had, Bruston takes charge as he always has, despite Cyrus’ willful, unsound judgment.
Through a series of flashbacks, Bruston leads us back to events when they first met. Garrett Turner portrays Young Cyrus, who is trying to sell his debut novel. Miles G. Jackson portrays Young Bruston, a junior editor at a publishing house. Interspersing conversations in the present with flashbacks from the past, we meet John Luc (Steven Hauck), Cyrus’ French translator, and his first wife Lana (Marcia Cross). In the Paris flashback, Young Bruston shares how his being gay has estranged him from his parents and allowed a love interest to steal his money and valuables. It is a situation from which he never quite recovers.
We note their bonding over Cyrus’ writing success, which Bruston helps to deliver continually. O’Dell also reveals that the two men who appear to be disparate are alike. They are wandering souls. They don’t settle down in any permanent love relationship because they are dedicated to their careers, to the exclusion of almost everything and everyone else.
However, Cyrus does love Lana, the mother of his children (Danielle J. Summons and Garrett Turner). After they divorced, the children, especially Gigi (Summons), resented Cyrus and were saddened by the unhappy family situation.
Tipped off by Bruston that Cryus is living on borrowed time, Marcia visits Cyrus in his writing studio. (Gallo outdoes himself with floor-to-ceiling bookcases and a bed encased in books.) Bruston paves the way for Cyrus’ reconciliation with his family. Also, he affirms their own relationship, which a flashback reveals they nearly severed. Finally, after Bruston’s prodding, Cyrus gives him his last work to read. Its subject is revelatory and a fitting ending for Cyrus’ life and career.
David C. Woolard (costume designer), Christopher Akerlind (lighting designer), and Bill Toles (sound designer), round out the creative team. Carpenter and the smashing cast (look for the excellent Stephen Payne as the Homeless Man), present O’Dell’s new work which will delight audiences.
Pay The Writer. Through September 30 at the Pershing Square Signature Center (480 West 42nd Street, between Ninth and Tenth Avenues). www.paythewriterplay.com
Photos: Jeremy Daniel
