In Will, we get no sense of a person faltering between impulses just the sporadic, inexplicable expressions of what he might be feeling in the moment. Even Anna, a gentle, live-and-let-live Lutheran, who clearly likes Will, runs from his bug-eyed lunacy eventually, after he scorns what he perceives as her minor-key, non-committal Christian faith. You want to move away from him, as you do any crazy-seeming person, not listen to any of his strident, disturbed rambling. Yet, whatever the play intends, Will doesn’t invite understanding. A Bright New Boise is trying to bring some humanity and empathy to these people who I think we have this knee jerk reaction to.” It’s an issue that begs us to understand it in a more profound way than we do right now… As secular humanists in this country, our initial reaction is just to say that fundamentalists believe because they are either dumb or crazy. I have so many objections to it, but I’m also fascinated by religious extremism and religious people. In a 2017 PBS interview, Hunter explained: “I went to a fundamentalist Christian high school in Idaho, so that makes my relationship to that worldview complex in some ways. The next he is a fulminating religious maniac, banging on about the Rapture and apocalypse.
One moment we see the absentee dad trying to do the right thing, and get to know and help his clearly vulnerable-both physically and mentally-teenage son. Will is a strange character to observe, and presumably to play. Will and his destabilizing presence-he is both recessive and combative-threaten to destroy all her best-laid plans.
Store manager Pauline (Eva Kaminsky) is in charge of this group of people Kaminsky is the standout performer of the play, supplying a constant, very funny, scene-dominating comedy of exasperation as things and people fall apart, and she just wishes her underlings would get on with their jobs in service of the productive small-scale model of capitalism she is proud to have constructed and oversee. Anna (Anna Baryshnikov) is a quiet co-worker, who forms a bond with Will as a fellow employee who hides away at the end of the working day to spend quiet time after lights out-and the store has been locked up-in the break room. Alex nervously contemplates his overtures, both personal and religious.Īlso suspicious of his beliefs and motives, with good reason, is Leroy (Angus O’Brien), Alex’s brother, who wears T-shirts with confrontational slogans. The thing he wants to reclaim is a relationship with his son Alex (Igancio Diaz-Silverio, drily surly and spiky) who he gave up for adoption 17 years previously.
Within Wilson Chin’s well-imagined, numbly plain set, the thing Will is trying to forget in this banal place is a terrible scandal at an evangelical church he was a member of.
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