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"The Four of Us' by 1812 Productions
Steve Cohen
An imperfect friendship
STEVE COHEN
Imagine a literate play about two intellectuals in which a crucial scene is a novelist having sex with an oversized stuffed teddy bear. This surprising and bold encounter is one of many pleasures in The Four of Us, by Itamar Moses, being given its East Coast premiere by 1812 Productions.
During the play’s world premiere in California, it was described as "a look at jealousy and how success can poison a great friendship." But that’s only half true. The Four of Us examines an imperfect friendship, which is more interesting.
One of the guys is too self-contained and the other is needy. To some extent, they are Jerry Seinfeld and George Costanza without the sitcom gags. Collisions are inevitable. Yet there’s a bond based on their common interests (writing, music) and their shared summer camp memories. When Benjamin sells his first novel for an extravagantly high sum while David’s first play is on its way to a disastrous reception in Indiana, resentment flairs. Benjamin’s disclosure of his seven-figure income cues a hilarious sight gag that is just one among many funny moments that relieve the tension.
A leaner work
But although The Four of Us uses a wide range of techniques and mixes drama with comedy, it is a much leaner play than other work by this accomplished 30-year-old playwright. Compared to the Moses plays we know – Outrage at the Wilma and Bach at Leipzig in New York– The Four of Us is simpler and more personal. Those earlier pieces followed the Tom Stoppard mold, with historical figures exploring lofty ideas and intricate events. The Four of Us is a two-character play that examines how two people handle the success of one of them.
David’s reaction to his friend’s achievement is grudging. No wonder that Benjamin pulls back and fails to give David an embracing demonstration of continued loyalty. Although David’s envy seems excessive, later scenes in the play explain much of it. David sabotages his own opportunities and annoys us, just as he annoys Ben. But we can’t shake him off, nor does Benjamin.
No neat solution to life’s unfairness
I would spoil the play for you if I gave you a detailed plot description. Time flashes back and jumps forward to provide a satisfying wrap-up, which, thankfully, doesn’t contain a neat "solution" to the problem of the unfairness of life.
Moses dazzles us with the way his actors answer questions that appear to come from audience members and with some quick cuts between the two men in different places. Jeb Kreager as Benjamin and Matt Pfeiffer as David inhabit these roles, giving unfussy, convincing performances.
The set appears to be the pages of a book that flip cleverly between scenes. Jorge Cousineau is the impressive set, sound and video designer and Paul Peyton Moffitt the creative lighting man. Pete Pryor directs superbly. Just as in his work as an actor of comedy and tragedy, Pryor neatly balances the two.
STEVE COHEN
Imagine a literate play about two intellectuals in which a crucial scene is a novelist having sex with an oversized stuffed teddy bear. This surprising and bold encounter is one of many pleasures in The Four of Us, by Itamar Moses, being given its East Coast premiere by 1812 Productions.
During the play’s world premiere in California, it was described as "a look at jealousy and how success can poison a great friendship." But that’s only half true. The Four of Us examines an imperfect friendship, which is more interesting.
One of the guys is too self-contained and the other is needy. To some extent, they are Jerry Seinfeld and George Costanza without the sitcom gags. Collisions are inevitable. Yet there’s a bond based on their common interests (writing, music) and their shared summer camp memories. When Benjamin sells his first novel for an extravagantly high sum while David’s first play is on its way to a disastrous reception in Indiana, resentment flairs. Benjamin’s disclosure of his seven-figure income cues a hilarious sight gag that is just one among many funny moments that relieve the tension.
A leaner work
But although The Four of Us uses a wide range of techniques and mixes drama with comedy, it is a much leaner play than other work by this accomplished 30-year-old playwright. Compared to the Moses plays we know – Outrage at the Wilma and Bach at Leipzig in New York– The Four of Us is simpler and more personal. Those earlier pieces followed the Tom Stoppard mold, with historical figures exploring lofty ideas and intricate events. The Four of Us is a two-character play that examines how two people handle the success of one of them.
David’s reaction to his friend’s achievement is grudging. No wonder that Benjamin pulls back and fails to give David an embracing demonstration of continued loyalty. Although David’s envy seems excessive, later scenes in the play explain much of it. David sabotages his own opportunities and annoys us, just as he annoys Ben. But we can’t shake him off, nor does Benjamin.
No neat solution to life’s unfairness
I would spoil the play for you if I gave you a detailed plot description. Time flashes back and jumps forward to provide a satisfying wrap-up, which, thankfully, doesn’t contain a neat "solution" to the problem of the unfairness of life.
Moses dazzles us with the way his actors answer questions that appear to come from audience members and with some quick cuts between the two men in different places. Jeb Kreager as Benjamin and Matt Pfeiffer as David inhabit these roles, giving unfussy, convincing performances.
The set appears to be the pages of a book that flip cleverly between scenes. Jorge Cousineau is the impressive set, sound and video designer and Paul Peyton Moffitt the creative lighting man. Pete Pryor directs superbly. Just as in his work as an actor of comedy and tragedy, Pryor neatly balances the two.
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