IF THESE WALLS COULD TALK // A THEATRE REVIEW OF "THE ARCHITECTURE OF BECOMING"

BY MATEO MORENO

Deep within the walls of New York’s famous theatre’s lie many secrets and untold stories.  The New York City Center, current home to “Women’s Project,” is no different.  Show after show has performed within these walls and now their latest, THE ARCHITECTURE OF BECOMING, aims to tell a few of those tales via four somewhat interconnected stories.  With the help of three directors and five writers, the play sets off into motion.  Claudia Acosta begins the proceedings as Siempre Norteada, a young writer who stumbles into the City Center theatre and “asks” the ghost of the past to let her hear the stories within these walls.  As she does a ghost from the past appears (Danielle Skraastad in her first of several appearances) and tells her that it’s unusual that people can hear her so she’ll tell her some tales.  And we’re off to the races with story one, set in 1936 involving a secret club and a secret between lovers.  The second tale digs into the tale of a Japanese couple and her desire to be an actress, but only playing herself.  The third is 1977 and showcases a young African American kid who wants to release an opera ghost.  The fourth and final story tells what happens to Norteada after she leaves the theatre.  The connecting line is all of the tales have to do with that building and how it’s changed throughout the years.

To say the least, The Architecture of Being is one of the most ambitious plays Women’s Project have attempted (at least since I’ve been attending them).  Being so ambitious, it doesn’t all land where you want it to, however when it does it shines and sings.  Danielle Skraastad is outstanding in each of her roles (my particular favorites being the characters from story one and two).  As Virginia Jackson, she becomes the heartbeat of the story, along with Vanessa Kai, who’s dreams and inner thoughts are spoken only through an old speaker she carries (an incredibly beautiful choice).  Christopher Livingston knocks it out of the park with his character in the 1977 era story, a young man needing to know if there really is a ghost behind these walls or if he’s crazy like everyone says.  His tender soul shines through and grips you till the end.  Much of the stories I don’t want to give away, but I will say what doesn’t work is the framework of the Grande  Dame Ghost and young writer Norteada.  A set up doesn’t exist for the scene and the entire piecing of it is unneeded.  Her proceeding story, told after the three stellar middle ones, is also the least interesting and seems to almost end three or four times.  Directors Elena Araoz, Lydia Fort, and Lauren Keating set up some very inventive and interestingly structured moments.  Had the playwrights trusted the strength of the three choices and left out the framework story, The Architecture of Becoming would have really sailed.  With it, it feels like a play that hasn’t quite become itself yet.

MATEO’S GRADE: B-

Directed by: Elena Araoz, Lydia Fort, Lauren Keating  Written By: Kara Lee Corthron, Sarah Gancher, Virginia Grise, Dipika Guha, Lauren Yee  Starring: Claudia Acosta, Vanessa Kai, Christopher Livingston, Jon Norman Schneider, Danielle Skraatad

Content Advisory: Language

BOTTOM LINE:  Challenging and inventive, yet not all of the puzzle pieces fit.  Still an intriguing night of theatre.