Review: bombs in your mouth is Very Tasty

bombs in your mouth
Through 3/28, Th-Sa @8pm
Hyde Park Theatre (511 W. 43rd. Street)
$16-18 / Thur PWYC
[info] | [tickets]
Let us begin this review of bombs in your mouth by lifting a definition for dark matter from Wikipedia:


In astronomy and cosmology, dark matter is hypothetical matter that is undetectable by its emitted radiation, but whose presence can be inferred from gravitational effects on visible matter.

And now, let us consider Hyde Park Theatre AD, and director of this show, Ken Webster has a thing for dark matter. You can pretty much count on his productions to evoke laughter and cringing, often simultaneously, as the plays he selects always leave room for plenty of between-the-lines interpretation. Webster is en garde! personified, keeping his audience on their toes as he continues to advance, advance, advance, refusing to retreat or even shy away from pushing them to think thoughts they might want to pretend aren’t there, but really, they are.

In a lovely dovetail, the astronomical definition of dark matter aptly captures what goes on onstage during bombs in your mouth. Because while, on the surface, the play might feel like the lightest show Webster has directed in awhile, the dialogue between the only two players—Liz Fisher’s Lily and Joey Hood’s Danny—nonetheless emits a certain radiation, a heavy, gravitational force.

It’s not too much of a spoiler to say the show opens with a bit of a surprise, a moment that literally brings the audience to its feet. Once that moment passes, we settle in to observe a pair of siblings—the sister that got away and the brother that did not. And the force from which they did and did not escape? A huge asshole of a father, recently passed, who, despite his physical absence and his daughter’s years-long attempt to eradicate him from her life, continues hold both his children in a tight grip from the great beyond.

The premise is hardly fresh—more than a few of us cling to the theory that fucked up parents beget fucked up children and even those who seek therapeutic relief are lucky if they can evolve more than a few baby steps from what created them. Still, writer Corey Patrick manages to do a great job of keeping his dialogue real and believable for the most part. Occasionally Danny and Lily’s dynamic threatens to shift from combative/competitive to conciliatory in a Lifetime movie fashion. But then Patrick recaptures the angst that keeps character tension and holds audience attention.

Hood, a Hyde Park Theatre Core Company member, does an excellent turn as the conflicted, slacker son of a father he both loathes and cannot shake his dedication to. Fisher, one of Austin’s very best actors, is highly convincing as the equally conflicted sibling trying to convince herself and her brother that her path—escape—was the better choice.

Both are wonderful physical comedians, fluid in motion, comfortable inhabiting their characters. Each gets in plenty of hilarious zingers, too. In so many shows, a romantic relationship—real, imagined, unrequited, troubled—is a given device, almost always promising an annoying happy ending or a disturbing unhappy one. Removing the possibility of romance by choosing to examine a sibling relationship, playwright Patrick has the audience wondering early on if he can sustain suspense. He certainly does.

Anyone who has had a difficult relationship with a sibling, a parent, a job, or a decision—so, like, that would be all of us— will exit bombs in your mouth with plenty of food for thought.

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