The Submission

Eddie Kaye Thomas, left, Jonathan Groff, Rutina Wesley and may Rogers star inside the Walter Bobbie-directed The Submission. An MCC presentation, by special arrangement while using Lucille Lortel Theater Foundation, from the play in one act by Rob Talbott. Directed by Walter Bobbie.Danny - Jonathan Groff Trevor - Will Rogers Pete - Eddie Kaye Thomas Emilie - Rutina WesleyWhite boys can't jump -- or can they? Scribe Rob Talbott reframes that question in the provocative strategies by "The Submission," each time a white-colored playwright uses the pseudonym from the black lady to submit his play (about "an alcoholic black mother and her card-sharp boy trying to escape the projects") with a exclusive theater festival. This subterfuge leads to some inflammatory fights on race and gender involving the scribe and also the alter-ego. Nevertheless the figures are caught between sitcom and emo-drama, missing the brains -- or, failing that, the essential vocabulary -- to produce these calculated smackdowns more credible. Furthermore amusing? A white-colored, middle-class playwright named Danny Larson (the properly disarming Jonathan Groff) sees that no an individual's prone to read a play in regards to the black experience put together by "a white-colored, white-colored dude." So he submits his play, "Call a Spade," for the Humana Festival beneath the made-up title of "Shaleeha G'ntamobi." This feminine (and "kind of black") title does the key, and "Call a Spade" is acknowledged for production. Which puts Danny inside the tricky position of finding anybody to impersonate the bogus "Shaleeha" through the extended production process within the Festival's theater in Louisville, Ky. The job of "legitimizing the play" visits Emilie Martin (in the vibrant and breezy perf from Rutina Wesley), a black actress who confirms to behave as Danny's mouthpiece throughout rehearsals and reveal the play's true authorship on opening evening. Not surprising, Emilie falls deeply deeply in love with the play, can get taken up inside the production, and handles to get rid of herself in their role. Up to now, things are both funny and poignant, the method that Walter Bobbie ("Chicago") has directed the overall production. Like the understated humor of David Zinn's set -- a turning quantity of self-intentionally "original" Local coffee shop coffee houses, book stores that appear to be vaguely the identical -- the satire is clever without needing to be cutting or cruel. Different color leaves, the supporting figures are carried out with elevated wit than bite by Will Rogers (effortlessly endearing as Danny's nearest friend, Trevor) and Eddie Kaye Thomas (a certifiable saint as Danny's loyal lover, Pete). In the event you met these people in the sitcom, you'd love them. The simple truth is, the play isn't a real comedy, which poses problems when things get ugly between Danny and Emilie. To put it candidly, Danny's a racist -- an authentic one. His casual conversation is stuffed with racist comments which are far beyond any white-colored man's legitimate beef about reverse prejudice. Although Groff lays round the charm (and the like a stroke of casting that was), Danny's insensitivity boosts serious queries about his character. The main question, clearly, happens when this kind of narrow-minded and callous person could write an "authentic" play about black people. (In addition to survive four years in New Haven while being trained at Yale.) But you need to to question what sort of sweetie like Pete would endure him, or what sort of nice guy like Trevor could stay pals with him. The solutions cannot be contained in Danny's background, because Danny does not have personal history. However, neither has Emilie or, for the matter, others inside the play. These exist strictly inside the moment, in one universal, constantly turning Local coffee shop. Even sitcom figures receive more backstory than that.Sets, David Zinn costumes, Anita Yavich lighting, David Weiner appear, Ryan Rumery original music, Ryan Rumery and Christian Frederickson predictions, Darrel Maloney production stage manager, Timothy R. Semon. Opened up up Sept. 27, 2011. Examined Sept. 23. Running time: one hour, 40 MIN. Contact the number newsroom at news@variety.com