Photo Source: Tony Earnshaw
At first, the play seems like "Waiting for Godot," as the characters' relationship and goals are unknown. The contrast between Ryan and Boyd is almost too perfect, from Ryan's upper-middle-class Sussex accent and navy sports coat to Boyd's cockney speech and work clothes. However, as the men ramble on about politics, religion, and other loaded topics, the work's purpose becomes evident. Earnshaw reveals the characters' inextricable bond with ease, and the drama unfolds so swiftly that it's difficult to detect just when it started. Saying too much here would ruin the shock.
Director Anna Adams carefully guides Earnshaw's powerful words and keeps the rhythm coursing throughout the show. The banging door could become a nuisance, but Adams succeeds in making it a poetic annoyance that rhythmically punctuates the proceedings.
As Ryan, Westgate captures his character's moral struggle effortlessly, containing the man's strong emotions until the pivotal final moment. Cobley is entirely sympathetic as the rough-around-the-edges Boyd, and he creates many endearing qualities in this ethically challenged individual. These multidimensional characters carry the lean work—50 minutes in duration, with folding chairs for a set—to success.
Presented by New Ways, in association with Unfit Productions UK, as part of Brits Off Broadway at 59E59 Theaters, 59 E. 59th St., NYC. Nov. 29–Dec. 11. Tue.–Thu., 7:30 p.m.; Fri., 8:30 p.m.; Sat., 2:30 and 8:30 p.m.; Sun., 3:30 and 7:30 p.m. (212) 279-4200 or www.ticketcentral.com.
