Playwright: Addae Moon
At: MPAACT at Victory Gardens
Phone: (773) 871-3000; $18-$20
Runs through: May 23
The world premiere of Notes from the Bottletree is only half a play. It runs just 70 minutes, but length isn't the problem; the connection between characters, or absence thereof, is the problem. Author Addae Moon leaves too many loose strings, places almost all important actions offstage and asks the audience to fill in the gaps. His language frequently is rich—in one scene he even makes a throat-slitting sound poetic—but his story is both simplistic and unfinished.
Jules (a woman) and Che are lovers and artists scraping by financially in a southern city (there's a single reference to kudzu). Jules' brother, Red, newly released from prison, comes to Jules with his card-shark habits and nose for trouble. The two have inherited a dilapidated, unoccupied house that Jules wants to sell and Red doesn't. Red and Che get drunk and play cards. Che and Jules hassle about the rent and Jules' next photography show. Red plays cards offstage and returns with a minor bullet wound. Jules and Red visit the family house. Jules gives Red their dad's dog tags from Vietnam. Red agrees to sell the house. End.
Moon establishes early that Jules' upcoming show is crucial, but doesn't take the play up to the show. He introduces issues between Jules and Che that are left unexplored and incomplete. Che disappears—literally—as a character and makes no material contribution to the story. The bottletree is introduced as a symbol (to keep evil away) but isn't utilized. Jules and Red's dysfunctional family history supposedly is central to Jules' art, but the connection isn't made in words, images or subtext. Red's agreement to sell the house isn't explained.
Director Andrea J. Dymond can't do much with such loosely woven, episodic and impressionistic material and doesn't try. She's given Notes from the Bottletree a quiet and earnest demeanor which probably is the best idea. She doesn't force high dramatics or action where they don't exist. Andre Teamer projects charm and warmth as Che, but he's done better work in better plays. Relative newcomer Alana Arena shows quality as Jules, but is required chiefly to be severe and humorless. Sati Wood flounders as Red, neither badass nor sensitive guy. Both are hinted at in the script, but Red's given few words to express himself. As is typical with MPAACT, live music underscores most of the production, quietly suggesting mood and sustaining minimal tension and momentum as the play jumps through 10 scenes.
Even if fully fleshed out, these characters and story may not make great news, but author Moon won't know if he doesn't try. Right now, Notes from a Bottletree seems like notes from a play, with the real play yet to come.