Aukin's production keeps the tensions, arguments and counter-arguments flowing rapidly for an unbroken 1 hour 45 minutes.
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Covering race, class and educational bias, this is a play guaranteed to make white liberals shift uneasily in their seats.
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It's a clever production of a script which doesn't deliver on its final A-grade.
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Uncomfortable for some? One hopes so. But what a punch to the kidneys for liberal snoots. Peppery, provocative, riveting stuff.
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Harmon’s play is capably acted and capably staged, but it’s a work that, quite frankly, was not worth the air fare to fly it over here. Next to its predecessor at Trafalgar Studios, Natasha Gordon’s Nine Night, Admissions seems like a real step backwards.
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As was true when it was premiered at Lincoln Center Theatre last spring, the play packs a genuine wallop well before coming to rest on the ironic final word, "perfect".
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‘Admissions’ might have felt topical. But it doesn’t. Some of America’s smartest playwrights – Branden Jacobs-Jenkins, or Jackie Sibblies Drury – have plenty to say about race and privilege. Joshua Harmon does not.
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Worth a look, then, but maybe a fresh round of application from Harmon could ensure it achieves greater distinction.
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