New Country

  • Our critic's rating:
    May 1, 2015
    Review by:
    Tulis McCall

    Review by Tulis McCall
    25 May 2015

    New Country is an interesting slip of a play. Set in present day Nashville on the eve of what will be an unfortunate wedding, the PR tells us that this is the story of one Justin Spears (David Lind), a narcissistic man who gets more out of jerking folks around that he does performing his music. Whom this story is really about, however, is Uncle Jim (Mark Roberts), Justin’s uncle and one man band of support. Jim initially appears to be one sandwich shy of a picnic – but looks are deceiving.

    Justin’s “people” Paul (Malcolm Madera) and Chuck (Jared Culverhouse) are on hand doing their best to manage the bachelor party details without having their heads lopped off just for breathing. But staying out of Justin’s crosshairs is not so very easy. In addition to this group is one Oliver Scott Junior (Stephen Sheffer), the bellhop in residence who is angling for a chance to give Justin a CD of his music as well as anything else Justin may want. Ollie’s wish is to serve or be served up.

    Once Uncle Jim arrives on the scene he pops off a few verbal rounds that range from loopy to vicious. The men compare sexual equipment and stories. Justin gets Jim to recount some of his famous exploits – the Injun who ran Jim over with her car, the midget and of course the fat woman... (yawn) until Jim calls a halt by having a diabetic seizure. This takes the air out of the tires, and everyone hitails it down to the party leaving Jim to natter to himself. Which he does in an intimate and disarming monologue.

    His sorrowful tale of self shaming ends abruptly when Sharon (Sarah Lemp) blasts into the room and the two of them engage in a speed conversation that defies gravity. Once they run out of steam, we discover that Sharon is Justin’s Ex. It was she (and Uncle Jim) who put Justin on the path that lead to where he is today. Sharon taught Justin how to play the guitar and supported him – literally – until she came home one day to find him in bed with her best friend. It has been years since she saw him, and she is here to get a few things straight.

    With all the characters and plot lines laid out, Mark Roberts' writing becomes fairly predictable. It does move fast, however, and everyone is enjoying their retributions so much that you aren’t bored. These actors do a fine job of moving the story along at a slow gallup. Everyone gets a chance to be vile, be stupid and be sincere. Bases covered. There is even a little music – old country, not New Country. Roberts' characters are clear and their motives are uncomplicated. His humor is sharp – no surprise that he gives himself the best jokes – and his timing is spot on.

    In the end, after some very clever writing that goes on too long (they were smart to make this one act instead of two) – nearly everyone has a firm grip on a knife sticking out of someone else’s back. And you leave being grateful you are not one of them.

    (Tulis McCall)

    "'Two and a Half Men' was often among network prime time’s raunchier shows during its long run, but Mark Roberts, one of the brains behind it, apparently was holding a lot back. His raucous 'New Country,' having its premiere at the Cherry Lane Theater and featuring one especially blazing performance, is full of the kinds of lines television censors snip out. But Mr. Roberts, a principal writer for the series, also does a pretty good job of slipping in a bit of heart amid the offensiveness."
    Neil Genzlinger for New York Times

    External links to full reviews from popular press...

    New York Times