Theater Online - New York Theater Reviews

     Protected is a celebration of those profound, unexpected human connections that occur only when we let our guards down and conquer the fear of sharing ourselves with others.  It’s a well-acted and polished dark comedy that's insightful too.

    The play takes place in New Mexico, where Langley (Jeff Paul) has relocated from New York (or Gary, Indiana - depending with whom he‘s talking) as part of the Witness Protection Program.  After partaking in some shady business as a booker and using money to help his dying wife, starting anew doesn’t come easy to our paranoid hero.  Paul does excellent work at embodying a character completely skeptical of others, even though those who surround him are seemingly plain and straightforward. He is particularly impressive with his physical choices, as friendly townspeople enter his home and he literally backs himself into a corner.  Even with no dialogue, Paul conveys his character’s discomfort with his new life.  It’s going to be a long road to consolation and this actor makes the audience care about Langley’s journey.

    The characters Langley encounters are offbeat, to say the least.  Although sometimes they’re so offbeat they border parody, the actors ably keep them likable and grounded in reality.

    With Langley’s apartment a disaster and his couch facing the wall (that’s how much he wants to exclude himself from the world), in pops his older neighbor Myrna (Cam Kornman).  While Myrna appears somewhat flighty at first, Kornman adds depth in subsequent scenes.  This is a mother who enjoys a very basic existence and wants more for her daughter Debra (Dee Dee Friedman).  There’s a moment towards the end of the second act that’s particularly moving.  Kornman brings out her character’s graceful, maternal side as Myrna reminds Debra of her passions in life.  It’s a delicate, stirring turn -- surprising because Myrna is the least interesting and necessary in Act I.

    As Debra, Dee Dee Friedman hilariously underplays dialogue that could have made her character appear stupid (“Bread is a vegetable, not a meat.”)  Debra is equally neurotic as Langley and she takes the term “neat freak” to the next level.  Prompted by her mother to get to know her neighbor, the rapport that ends up developing between Debra and Langley is heartbreakingly earnest.  There’s a real need for these two to deeply bond and both actors take their time taking in the other character.  Little ways that Debra begins to trust Langley, like finally using one of his glasses even though she’d rather use her own positively clean one, are fine touches in this strong script.

    The third friendly New Mexican to turn up without knocking is Langley’s co-worker Matt, played by a charismatic Matt Walker.  The relationship between these two is perfectly awkward.  As he behaves towards everyone, Langley is hesitant to engage and reveals little.  But watch as Walker’s Matt slowly and gently offers his camaraderie.  In one of my favorite moments of the play, they discuss Matt’s display at a bar featuring drag queen performances.  There’s a confident and sincere give-and-take between the actors that makes live theater so exciting.  Walker’s sensitivity played against Paul’s uncertainty is both funny and tender, a testament to the actors and to playwright Timothy Scott Harris for providing twists and turns that you can’t see coming.

    The last character we encounter is Cruthers (Bill Tatum), who’s come for his final check-in as part of the protection service.  The simplicity of Tatum’s line deliveries (think David Carradine in Kill Bill) plus his creepy cowboy boots had me awaiting some villainous turn from this character.  But no.  Like the others, Cruthers is simply… simple, not evil.  He wants Langley to lay low, do the bare minimum at a job for which he‘s overqualified, “take the best part of [his] life and leave the rest behind.”  The problem is Langley doesn’t know how to be someone else.  But he’s trying.  And while perhaps not as touching as the random yet adorable ‘bromance’ between Langley and Matt, Tatum supplies an austere yet loyal presence in his scenes with Paul.

    Thomas Cote’s direction is seamless.  He brings out the best in his actors and they maneuver about the stage naturally.  Craig Napoliello’s set design perfectly adds to Langley’s paranoia -- a door to bolt up, not one but two windows to peer out of.  The outdoor area is merely a wooden floor (no walls) but it works wonders because we can see both Langley inside and other characters outside.  Sean Singer’s sound design is a highlight of the show.  It’s as quirky as the characters who inhabit the play.  Singer’s music choices add necessary tension to dialogueless moments with Jeff Paul.

    Besides one moment where Langley delivers a cheesy monologue to a photo of his dead wife, Protected is a smart play that avoids clichés.  It features guarded characters who want to connect but must discover how to do so.  Best of all, just when you think it’s  headed in one direction … it makes a U-turn and heads the opposite way.  Isn’t that life“

    Protected is presented by the Workshop Theater Company and plays until May 19.