Theater Review (NYC): Life in A Marital Institution by James Braly

As a native of the Upper West Side of Manhattan, I see playwright-performer James Braly as a mirror image of the cool dads half my friends had growing up. Those were the dads who disproportionately ended up divorcing the moms, often for a younger woman. But Braly, who gave up his Central Park West apartment to improve his family life, has not divorced his wife Susan, despite having ample reason and opportunities to do so over the past twenty years. Having inherited an unstable family life from his childhood, Braly is a man who can’t thrive unless there’s a minimum baseline of chaos in his life. To use a phrase my mom used for my dad, Braly has two speeds: fast and off.

Braly got his expensive apartment as a speechwriter, and his skills as a writer are apparent throughout Life in A Marital Institution. The script never misses an opportunity for a punch line; one can easily see a politician using Braly's seemingly endless reservoir of verbal jabs. But more important than his natural sense of humor is Braly’s ability to distribute the blows equally among family, friends, and himself. Life in A Marital Institution achieves a balance between Braly’s self-righteousness and self-loathing that is rare in a one-man show. After years of writing speeches where the focus is on artifice, Braley has two decades' worth of truth-telling in store that the monologue format allows him to blurt out for an hour.

As easily as writing comes to Braly, he is not a natural performer. This is a double-edged sword for the play's overall impact. On the one hand, his plain old regular-guy storytelling performance style is a welcome relief, keeping things fresh throughout the evening. On the other hand, Braly’s performance will often betray his writing, as some lines don’t hit as hard as they should. In part to overcome his lack of an actor’s instincts, Braly has a tendency to mug with an annoying smirk when he delivers a particularly smart line. Once things turn serious, however, that smirk vanishes. As a performer, Braly is at his best when he is most vulnerable.

The tribulations of married life aren't exactly a new concept for drama, but Braly’s marital circumstances are legitimately exceptional. No primetime sitcom would touch James and Susan’s marriage, which includes planning on breastfeeding their two sons until the age of seven, having the entire family sleep in the same bed, and holding dinner parties where parents discuss eating their wives' placentas.

Susan’s Eastern spiritual leanings are a constant source of frustration for James (in what may be the best one-liner you’ll hear in New York this summer, James comments that "[he’s] never put 'exorcism' in the memo box of a check before"). In the play’s most emotionally taxing scene, that frustration becomes a matter of life and death. Yet Susan is as much a source of comfort to James as she is a source of rage. In James' family, a long-lasting marriage is an exception rather than the rule. Consider his dying sister who's marrying a violent Australian, a father who can’t hold down a marriage, or his more clueless sister, who owns a salon un-ironically named “Façade.”

While a one-man show usually makes its director invisible, here Hal Brooks establishes himself as this generation’s premier director of the format. Between Thom Pain, No Child, and now Life in A Marital Institution, he’s built a signature style of quick shifts, segmenting a play by lighting changes, and brief, abrupt audience engagement. The guidance he has provided Braly’s performance has proven to be invaluable.

After a few years of an identity crisis after Spalding Gray’s death, the monologue has made a triumphant return with a bevy of new, creative plays. Life in A Marital Institution opens as Mike Daisey’s How Theater Failed America, a similarly, frank, honest one-man show, just finished a heralded run a few blocks away. In today’s culture of theatrical excess, there’s a premium on unassuming, direct plays that cost a lot less but resonate a lot more. Life in A Marital Institution succeeds precisely because of its small goals. Who would have thought selling an apartment on Central Park West would be worth it after all?

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Through August 31 at the Soho Playhouse, 15 Vandam St. Written and performed By James Braly. Directed by Hal Brooks. Tickets can be purchased here. The show runs 1 hour, 5 minutes. This article was originally posted on blogcritics.com. Photo by Jaisen Crockett.