By Thaddeus McCants
Directed by Tyler Gardella
Reviewed by Joseph Verlezza
Theatre Reviews Limited
Several characters appear in “In A Room, Waiting,” particularly because the room in question is a hospital waiting room. These “visitors” have little else to occupy their time other than browsing outdated magazines or entering a conversation that might either ease their apprehension or perhaps escalate their level of anxiety. Malcolm (Thaddeus McCants) and Aisha (Jarielle Whitney), a young unmarried couple, happen to be at the center of this societal microcosm as they grapple with the issue of an unexpected pregnancy. They disagree on many topics including whether to bring a child into the world given their present dismal situation and precarious relationship. Among the vivid refugees that that infiltrate this isolated encampment from the socio-economic war raging outside its doors, is a mother with a sagacious child, a drug addict looking to steal prescription drugs, a man with a head wound injured by an exploding soup can and a college frat boy ailing from an STD. Then there is the astounding Octavious, (Justin Jorrell) a somewhat prophet that sees people’s lives when high on the drug of the present decade. Beaten, bedraggled and ostracized, a sort of evangelist there to announce the coming of a special child. They are all colorful and persons of color.
Playwright Thaddeus McCants has penned an interesting narrative and created a mélange of characters to support his clever script. As ingenious as it is, it lacks the dramatic arc needed to sustain the important messages that reflect the current social turmoil erupting in our country today. The choice of music in-between scenes, as relevant as it may be, weakens the power and drive of the dialogue by changing the mood. Also, there is a need to clarify the reality versus magical realism that exists. At present, it tempts the audience to think too much, which creates doubt and uncertainty about the characters and the situations presented. The two protagonists need to be fleshed out in order to attain more empathy from the audience. The last scenes after the passing of seven years seem rushed and feigned, prompted mostly by lack of information of what has transpired over that time period that changes the attitude and demeanor of the characters.
The cast is remarkable, tackling the script with honesty and authenticity. Mr. McCants is a welcomed new voice that needs to be nurtured so he does not become a stranger to the much-needed infusion of young playwrights into the network of American theater.