#Susannah flood personal life full#
Everything glides with perfect pacing, while the staging uses the idiosyncrasies of the theater's configuration to full effect.
Her sense of morality contains deep contradictions, and while it's satisfying to see Simon ultimately call her out on such hypocrisies, they never quite make sense to begin with.Įven when the content is problematic, the production itself-The Flea's first under new artistic director Niegel Smith-compensates, owing in large part to McSweeny's laudable direction of his skilled, cooperative and committed cast. Morally, sexually, and professionally, she moves with leaps instead of steps, but in all manner of directions. We're also offered evidence that he might just be the typical New York stock version of the Disagreeable Neighbor.Īnother problem is that it's particularly difficult to buy into Sarah's relationship with Michael, since she feels more like a device for his salvation, or his destruction, than a fully-realized human. It seems likely that his ill-will is the product of racism, though nobody ever articulates that. For example, Ted's motivation as Michael's chief antagonist is shaky from their first meeting, when he randomly accuses Michael of passing gas in the building's lobby. Several conversations or relationships aren't especially believable, and characters can become unwieldy when they're deployed for too many purposes.
Depending on your personal preferences, we apologize/you're welcome!"Īs it happens, these sex scenes possess a realism missing from portions of the show's dialogue, which can feel too constructed. Meanwhile, an advisory on The Flea's website cheekily warns, "This production includes flashing lights, violence, nudity, and sexual situations. Most obviously, this play continues his streak of depicting graphic sexual encounters on stage, with sex choreographer Yehuda Duenyas's production bio noting that he "created this category of choreography specifically for Thomas Bradshaw's work." That's a relative statement, of course, and those familiar with Bradshaw's work will easily recognize the playwright's touch. Bradshaw's reputation as a provocateur is well documented elsewhere (links to CurtainUp's reviews of his past plays appear below), but this may actually be one of his more conservative works, avoiding the intensity of taboo subjects that he has explored in the past. In Fulfillment, directed by Ethan McSweeny at The Flea's upstairs theater, Thomas Bradshaw explores that age-old question of what will make a person happy. He has a serious drinking problem his best friend Simon (Christian Conn) and boss Mark (Peter McCabe), both white, are prone to making racially insensitive comments without even realizing it and a feud with his new upstairs neighbor Ted (Jeff Biehl) over noise is intensifying by the minute. On the surface, things seem to be going pretty well for Michael (Gbenga Akinnagbe): he just bought the apartment of his dreams-even if it's a bit small for $1.5 million-and his new girlfriend, Sarah (Susannah Flood), seems like she might be the one. Susannah Flood and Gbenga Akinnagbe (Photo: Hunter Canning)
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