Review - Good People

I finally got to David Lindsay-Abaire’s new play, Good People, over at Manhattan Theater Club.  Boy, was it worth the wait.

Frances McDormand stars as Margaret, a blue-collar single mother who has just lost her job.  The job search sort of spurs the play into motion, but it’s the relationships and the ideas that make this play fly.  The play takes place in South Boston (“Southie”), and it’s amazing how specific Lindsay-Abaire makes the locale, yet how universal the whole thing becomes.

These characters are achingly real, so lived-in.  There’s just a brutal honesty about what is going on, scene by scene, and you just can’t look away.  There are big ideas here—class division, choices, luck, pride, obligation.  Nothing here is presented as absolute, just many shades of gray.  Someone can be a ‘good’ person, but yet also be a ‘bad’ person.  These relationships are tricky and complex, with new facets coming out of every scene.

There’s not a weak link in the acting ensemble.  Estelle Parsons and Becky Ann Baker provide a sort of comic relief as Margaret’s landlord and friend.  Their frank and funny dialogue is spot on.  Patrick Carroll is very good as Margaret’s former boss, who has more layers than you might suspect; Renee Elise Goldsberry is terrific as the young wife; Tate Donovan (who has never overly impressed me before) is really grand as the old flame of Margaret’s who actually got out of Southie.  He simmers with resentment when confronted with the reality of his past—he’s been creating his own history for years, and when Margaret reminds him of his truth, he breaks. 

McDormand is nothing short of fantastic.  It’s such a testament to her skill as a performer that she makes you immediately like and root for this prickly, passive-aggressive woman, who is often her own worst enemy.  Even when she’s saying the most horrible things, you can’t help but sympathize with her plight, even as you’re wincing at her obstinacy.  She’s wonderful and I am rooting for her to win the Tony all the way.

Daniel Sullivan has beautifully directed the piece and the set design is also fantastic.  The scene changes are separated by masking that almost looks like a camera lens opening and closing—really effective.  Each set is stunningly realistic and quickly and effortlessly move into place.  The effect is terrific.  The music between scenes is also very effective.  Thumbs up on the entire physical production.

Oh, well, thumbs up on everything.  This play is smart and funny, tender and tough, and so thought-provoking.  I only wish I had seen it earlier in the run so I could’ve seen it again.