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MODERN SOPHISTICATES: (L-R) Ari Graynor, Zach Braff, and Bobby Cannavale in 'Trust,' a story more about power than trust. (Joan Marcus)
NEW YORK—Why playwright Paul Weitz chose to name his play Trust puzzles me. A more apt title, in my opinion, would be, “A Quartet of Power Players,” or something like that.
In the unique world of the play, darkness merges with over-the-top zaniness. Trust is clearly a satire on contemporary life, particularly as regards city sophisticates, and it is rife with laughs.
Trust plays little part in the goings-on. Harry (Zach Braff), although very wealthy, senses something is missing in his life—mostly a lack of connection with his wife. She is a painter but never paints anymore. Apparently chronically depressed, she watches TV most of the time, even when the set hasn’t been turned on.
Seeking help, Harry pays a visit to the elegant and exotic Prudence (Sutton Foster), an unconventional kind of therapist. Amazingly after a few minutes in her presence, he realizes that he has known her in the past from high school. She remembers him too but as a forlorn nebbish. How had he managed to become so successful, she inquires. He is now a multimillionaire. A combination of business acumen and luck, he explains.
CONTEMPORY LOVE: (L-R) Ari Graynor and Zach Braff appear in 'Trust.' (Joan Marcus)
But concerning his marital problems, Harry believes Prudence may be his salvation. He pleads with Prudence to pay a visit to him and his wife Aleeza (Ari Graynor). Hopefully Prudence’s self-assured composure and advice will influence Aleeza to take a more positive outlook on life and their relationship.
In Harry’s sleek Manhattan apartment (excellent minimalist sets by Alexander Dodge), the visit turns out to be less than successful. Aleeza is extremely hostile toward Prudence—of whom she is obviously jealous. After Prudence leaves, the status quo holds in the household, and Harry is frustrated. It seems that Aleeza maintains power over Harry by being passive.
Shifting to the other couple, we find Prudence at home with her boyfriend Morton (Bobby Cannavale). But what is so astonishing is that Prudence, who has shown herself so confident and self-assured in the prior scenes, is subservient and self-effacing with the domineering Morton. To insure their intense relationship, she would do nothing to “cross” him. Morton is, so to speak, the king of the hill.
A SATIRE ON THE TIMES: (L-R) Sutton Foster, Zach Braff, and Ari Graynor in Paul Weit's 'Trust.' (Joan Marcus)
But when Prudence tells Morton about Harry and his wealth, the ne’er-do-well-would-be conman Morton decides to extort money from Harry. But now Harry shows himself to be wilier than one would have thought. He is actually quite clever at fending off Morton’s aggressive moves.
In the end, a turnabout takes place. I don’t want to give away specifics. I will say that each character ends up taking a completely opposite stance from his former attitudes and roles. It makes for some funny surprises.
Performances under Peter DuBois’s smart direction are terrific. Sutton Foster oozes both glamour and reason. Zach Braff develops from a clueless blandness to shrewdness. Ari Graynor undergoes an extreme metamorphosis, all the while maintaining her cool, blond attractiveness. Bobby Cannavale conveys the essence of tough-guy power until he “loses it.”
Strong ensemble playing is needed in this swift-moving production. One is not disappointed: The four actors work together like a well-oiled machine.
If a contemporary, glitzy satire is your meat, then go see Trust.
Trust
Second Stage Theatre
305 West 43rd Street
Tickets: 212-246-4422, 800-766-6048, or www.2ST.com
Running time: 2 hours
Closes: Sept. 5
Diana Barth writes and publishes New Millennium, an arts newsletter. For information: www.diabarth@juno.com.
