Truth Be Told
Written William Cameron; Directed by Kim Sharp
The Gene Frankel Theatre | 24 Bond Street, New York, NY 10012
February 19th - March 9th
Not surprisingly, I’m seeing more and more plays about gun violence in America. Artists responding when politicians don’t is nothing new. The shame, rage and heartache we feel as a nation about a subject which we by and large agree upon in our ever divisive society has become almost unnewsworthy unless trivialized and sensationalized - more fodder for the 24-hour news cycle.
Here we find Truth Be Told. An author, Francesca Ravera, has paid for an exclusive with the mother of the accused killer. Normally, we hear all about the shooter in the aftermath of the violence - the “shooter”, not the “accused”. Typically, the person holding the gun, be they alive or dead, is clearly at fault particularly if there is a bodycount at home. This mother, Michelle Park, disagrees. With the aid of a podcasting conspiracist, she believes her son is a victim. She has an alternate truth.
Gun Violence.
Accountability.
Alternate Facts.
Buzz Words.
What sounds like compelling drama is weighed down by too much play. The recent obsession with longer and longer plays without intermission is beginning to feel like a trap. At a reported 100 minutes, that was closer to 113, without intermission with the only restroom being backstage, there is a new interpretation of “an accident waiting to happen”. There is simply no graceful respite, so plan accordingly. I’ve never felt disconnected from a good play by an intermission. And, in a play with enough scene breaks / costume changes, it really feels like a missed opportunity.
The well appointed set design by Elena Vennoni gives ample opportunity for this not to be a show about two talking heads. Sadly, it is not put to use. Director, Kim Sharp, leaves the actors tethered to the furniture with nothing but words to occupy them. The verbal sparring was unbalanced and janky at best leaving one to wonder if the extra 10 minutes was the result of bad timing or missed cues. The small audience was left to fidget, nod off, chatter and occasionally check their phones. Any pity one might have for this clearly delusional mother is rung out of us by the end of the play.
While I may come across as grim, I do believe there is tremendous potential for this play. But like so many of these news stories, this current incarnation is losing its audience.
Click HERE for tickets.
Review by Nicole Jesson.
Published by Theatre Beyond Broadway on Feb 21st, 2025. All rights reserved.