Aubrey Plaza Shines, But 'Let's Love!' Struggles in Coen's Latest

Unpacking 'Let's Love!'

As the curtain rises on Ethan Coen's Let's Love! at the Atlantic Theater Company, one can't help but anticipate a riveting exploration of intimacy, especially given the provocative title. However, it's a bit of a letdown when this set of three one-acts opens with a presentation of human connection that's more awkward than alluring. The three interconnected narratives represent a bold attempt at satire, yet not a single scene manages to elevate itself from the depths of surface-level dialogue and cringe-worthy humor.

A Mixed Bag of Performances

The production, directed by Neil Pepe, features a strong ensemble cast, including the inimitable Aubrey Plaza who truly stands out amid the chaos. Plaza's performance in her role as Susan reminds us why she is considered a force to be reckoned with on stage. In scenes filled with chaotic energy, her expansive range shines through, contrasting sharply with the mediocre script. While she's packed with life—moving through each moment as if it's a high-wire act—others in the cast appear to tread water in this murky creative swamp.

“The talent is there, but the direction and writing hold them back.”

The first act, titled “The Broad at the Bar,” kicks off with what could have been a laugh-out-loud scenario: a boozy, older woman attempting to charm a younger Black man at a bar. Unfortunately, while the premise is funny on paper, it quickly devolves into uncomfortable caricature rather than insightful comedy. Mary McCann does her best to deliver the clumsy lines with charm, but the interplay lacks the nuance one would expect from a Coen production.

Sex and Humor: A Difficult Balance

Moving onto “Dark Eyes,” we see Plaza and her dramatic counterpart Faye (played by Mary Wiseman) delve into a world of sexual innuendo that borders on absurdity. Here, the humor hinges on shout-out obscenities, which could have been pointed and sharp if delivered correctly. Instead, it often reads as desperation for laughs rather than clever commentary.

This one-act is surprisingly the longest of the trio, yet it does little to maintain interest. Plaza's performance edges closer to a feminist reclamation of the characters' grotesqueness, but even that is hindered by the lack of substantial writing. There's potential in the chaos, but it feels as if it was rushed into production without the fine-tuning it desperately needs.

The Missed Opportunities

It's clear to me that Coen's ambition with these narratives was admirable, aiming for that darkly comic, neo-noir flair so prevalent in his films. However, he ultimately misses the mark. The dialogue, littered with juvenile phrases such as “sperm bucket,” feels outdated in a contemporary context, leading one to wonder if this was truly the best approach to depict sex and relationships in the modern age.

“The show might benefit from a razor-sharp editor.”

In the act titled “Girl,” we finally encounter Dylan Gelula, whose character struggles under the weight of a painfully thin script that leaves little room for development. Noah Robbins as her date employs endearing awkwardness, yet the humor becomes tiresome rather than relatable.

A Stark Production Design

The production's visual elements can only be described as cleverly ambitious yet underwhelming. The double-turntable design seems convoluted and distracts from the unfolding action. As Riccardo Hernandez orchestrates the set, it appears chaotic, aligning with the disjointed narrative more than enhancing it.

Musical Interludes: A Distraction

One unexpected component of the show is the inclusion of musical performances by singer-songwriter Nellie McKay. Her presence is refreshing, yet it starkly contrasts the sleazier tones encapsulated in Coen's script, leaving the audience in a liminal space between confusion and neglect. Despite her undeniable charm and stage presence, the musical interludes feel like attempts to bridge scenes rather than contribute meaningfully to the narrative.

Final Thoughts

Ultimately, Let's Love! does offer glimpses of brilliance, yet those moments are not fully realized, resulting in a production that fails to live up to the legacy of the Atlantic Theater Company. It's fascinating and frustrating to see an innovative writer like Coen, known for his sharp wit and evocative dialogue, falter in such an uninspired manner. Despite Plaza's valiant efforts, the dated humor and lack of connection between the stories make it challenging to recommend this show wholeheartedly.

While I appreciate the passion and performance, I cannot shake the feeling that this play, by a master of storytelling, should have aimed to dig deeper into the essence of love, connection, and humor, rather than resting on uninspired clichés and juvenile distractions.

Details

Let's Love!
Through Nov. 22 at Linda Gross Theater, Manhattan; Visit the Atlantic Theater Company. Running time: 1 hour 30 minutes.