Everything Is Ours: in brief
The rising company Colt Coeur (Fish Eye, Seven Minutes in Heaven) returns to mount Nikole Beckwith's comedy of manners. Company honcho Adrienne Campbell-Holt directs.
Everything Is Ours: theater review by Adam Feldman
Sara (Katya Campbell) and Mitchell (Geoffrey Arend), the central figures of Nikole Beckwith’s tangy new comedy, have made a fortune selling services for real-world social interactions from which they themselves are estranged. Having farmed out their lives to a battery of employees, including two hypercompetent interns, they rarely leave their exhaustively quirky home (designed with fun-house flair by John McDermott). He works on a model shipwreck in a bottle (“Are those stowaways on fire?”); she fires maids just to feel alive. But the equilibrium of their anomie is thrown off by guests: Tim (Adam Harrington) and Alice (Kate Cullen Roberts), a blindingly sunny but unhappily childless Midwestern couple; and Elsie (Rachel Resheff), a ten-year-old orphan born of an egg that Sara sold years earlier.
Wittily directed by Adrienne Campbell-Holt for the bold young company Colt Coeur, Everything Is Ours begins in a mode of absurdist near-caricature, but gradually grows softer and more lifelike. Though slightly overlong, the play is consistently funny, and Sara’s thaw toward the notion of motherhood—instead of the bratty extended childhood she has been living—is rendered with agreeable understatement. As the satirical trappings fade to the background, Beckwith offers an entertaining portrait of spoiled people learning to resist the alienation of their disaffection.—Theater review by Adam Feldman
Follow Adam Feldman on Twitter: @FeldmanAdam
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