The Comeuppance is a peculiar little play that centers around a tight-knit group of five brilliant but now millennial classmates who bonded as outsiders in the honor society, calling themselves the multi-ethnic reject group or MERGE. Written by Pulitzer Prize winner Brandon Jacobs-Jenkins and directed by Latrelle Bright, The Comeuppance is running now through June 15 at Human Race Theatre Company’s Loft Theatre in Dayton.
The Comeuppance Reflects on Millennial Experiences
MERGE plans a relaxed bonding moment before their 20th high school reunion. The first to arrive is Emilio (Darnell Pierre Benjamin) the estranged buddy who disappeared overseas after his ex-girlfriend, Kristina (Lipica Shah) got married fifteen years ago. Things start to get murky when Caitlin (Erin Ava Butcher) arrives, and old feelings begin to emerge.
As the group reflects on the past 20 years, they consider the ‘what ifs,’ and the good and poor decisions made while navigating adulthood. They lament everything from 9/11 to the endless war to COVID-19 and Trump. Past grievances stem from previous entanglements among the three core group members, as well as the unexpected arrival of Francisco (Rico Romalus Parker) who wasn’t invited.
The remaining original member, Ursula (Annie Pesch), has avoided any entanglements and lives alone. She carries the burden of many physical issues and recent losses. Ursula is battling diabetes and is losing her ability to walk and see. Her physical decline mirrors the group’s inner unraveling.
Caitlin bemoans her life choices, from her mentally ill high school boyfriend, Francisco, to her current older husband, who might be a bigoted police officer who stormed the Capitol on January 6th. With Kristina, she questions her life choices, including having too many children with a man she may not love, and she struggles with her attraction to a female colleague. As she reflects on her decision to become a doctor, these issues weigh heavily on her mind. She relies on alcohol to cope.
It’s Complex
Most complex is Emilio, who is very self-willed, self-centered, and stubborn, stifled by an ongoing affection for one of the core members of his group. This affection regulated him to friend status, which led him to leave the country and become estranged from his old friends. Emilio has fabricated a family and career within high-class European society, but it is all a farce, as he still struggles with his identity. Now, at this reunion, he finds out his classmates suspect he might be gay, which he must vehemently deny.
In Emilio’s outspokenness against Francisco, he reveals his grievances in frustrated displays, which cause friction with his old friends. As the uninvited guest, Francisco seems oblivious to the entire tension between him and Emilio. Francisco still pines for Caitlin after he has experienced post-traumatic stress from serving tours in Afghanistan.
There is also a hidden sixth member named Simon (Andrew Ian Adams) who ditched the event, much to their frustration, and talks via speakerphone, mainly supporting Emilio’s perspective.
A secret, creepy seventh visitor incongruously is the spirit of Death, who pops up sporadically, possessing each member of the group and speaking directly to the audience about their purpose and thoughts on each one.
It’s an odd interruption, trying to figure out what’s happening as Death takes over, with lights (Kelsey Gallagher) flickering and dimming, as all the actors move in slow motion on stage behind whoever is speaking. Death speaks very scientifically and intelligently about its admiration for the living, particularly its interest in this group of millennials and their alleged good intentions–despite their job resumes.
Scenic Design
The stage design (Tamara L. Honesty) is a charming brick-laid house with an inviting porch, nicely set up for the actors to have their pre-reunion, complete with lovely porch furniture, flowers, and a patch of green grass. The sound effects (Daniella Brown) even feature cars driving past and neighbors talking, so it feels like it could be a real neighborhood.
Overall
This play has its fun moments. The group’s revelations about what has happened in their lives pique interest. However, it then delves into long stretches filled with explanations in speeches by the primary characters and Death, which leads to long stretches of disengagement and confusion. The pacing could have been tighter for a two-and-a-half-hour play without intermission (like a movie).
Ultimately, the elephant in the room addresses the inevitability of death in our lives and how we persevere through trials and tribulations. It prompts the audience to ponder and reflect on why they’re there and what they’re doing, encouraging them not to waste time, especially in their younger years, in pursuit of life fulfillment. Each generation has its unique shared experiences that we must face, pending the final date, and to use our time wisely for that time before – this is the shared feeling as we exit the theatre to continue discussions about how we can all live better.
Tickets to The Comeuppance
Contact the Dayton Live Box Office HERE for tickets to The Comeuppance. Find out more about special discounts, talkbacks and more at the HUMAN RACE THEATRE website.
