The Language of Love
Words are both barbed and
seductive in Itamar Moses’ new heartbreaking Completeness, in which two graduate students fall back on their
rigorous training in science and technology to fight love. “This is your ‘A’
material,” Molly (Aubrey Dollar) says as computer scientist Elliott (Karl
Miller) jumps out of bed after sex to explain a complicated problem. It turns
out that it is his A material; it also turns out that it works. Molly and
Elliott are smitten with one another and will never again let themselves be as
happy as in that moment.
This means that, under the
keenly felt direction of Pam MacKinnon and Dollar and Miller’s gorgeously
painful performances, that is the last moment the audiences are ever that
happy, as well. From then on, we must bear silent witness to Molly and
Elliott’s purposeful sabotaging of their burgeoning relationship, using
everything from icy distance to flirtations with other people.
The obvious parallel to
Moses’ complicated, technically thorough dialogue is that towering exercise in
romantic academia, Tom Stoppard’s Arcadia. But where last season’s revival of Arcadia was laser focused on the words and ideas, MacKinnon
treats the trading of theory between Molly and Elliott as foreplay. There’s a
reason why Molly is so turned on when Elliott explains the Traveling Salesman
Problem in his boxers; Miller makes Elliott into a cerebral, very funny
sexy-geeky guy. And Dollar’s open face, across which shadows keep flitting that
warn us that this relationship is transitory, promises a woman who has survived
tough knocks with her sense of possibility still intact. It’s a sinking feeling
when she greets Elliott’s admission of panicky terror when relationships turn
serious with her own confession that she sometimes simply disappears when
things get too intense with a man; the ending has already been written in Moses’
characters’ genetic codes.
That ending eventually does
come, but not without a piece of meta-theatrical masturbation that almost
destroys the tenderness of what came before. As Molly and Elliott are drawn to
other people, the set’s walls fill with computer formulas until the light board
“crashes.” What follows is painful and puzzling and doesn’t come close to
achieving Moses’ ambitions. That Dollar, Miller and MacKinnon eventually win us
back in the play’s wrenching final scene is a testament to the talent of all
three. Completeness is not a
perfect play, but the relationship that Dollar and Miller have created on stage
between Molly and Elliott is. Reader, I cried.
Completeness
Through Sept. 25,
Playwrights Horizons, 416 W. 42nd St. (betw. 9th & 10th Aves.),
www.playwrightshorizons.org; $70.


