Arts

The drama of art

by Jules Becker
Thursday Mar 17, 2016

Is a stimulus award a blessing or a curse? Will the recipient use the prize to further genuine promise or sell out to the business side of the art world? Could award committee agendas unfairly decide the winner? At the same time, might all of these factors severely impact the friendship of competing artists? MJ Halberstadt explores all of these considerations in his intriguing new effort "The Launch Prize," now in a fast-paced lift-off by Bridge Repertory Theater of Boston at the Calderwood Pavilion.

Four budding painters are awaiting the announcement of one such award at the start of Halberstadt's largely engaging 90-minute play: Chinese-American Kim, part-Mexican Sebastian, African-American Michelle and Irish Tracey. Never didactic about political correctness, "The Launch Prize" smartly turns stereotypical attitudes on their proverbial head this diverse quartet comes to terms with their respective approaches to the competition and motivations for their entries.

Kim initially conceals her identity by submitting her painting with the name 'Last Sunday' and finds it necessary to defend herself particularly to attitude-rich Sebastian. Eventually theatergoers will see more and more signs of a growing romance between them. Michelle emphasizes her ethnic roots in her entry and indicates that she would use the award to travel to Africa as part of the development of her art. At the same time, the pursuit of the prize clearly is putting a strain on Kim and Michelle's friendship.

The male rivals have their own very different agendas. Austin makes an organic motif integral to his painting and looks to travel to major European museums as part of his artistic development. There are significant moments when he suggests that his colleagues' submissions may not be judged solely on merit-moments resulting in real tension. Sebastian seems more interested in the business of art and a genuine personal aesthetic. It is telling that he speaks of an Antrios-the name of the highly debated white-on-white painting in the Yazmina Reza play "Art," a reference that becomes more revealing of his career plans as the play progresses.

What makes all of these cross-currents especially absorbing is the play's movement into a "Rashomon-like" structure involving the envelope revealing the prize winner. It is no spoiler alert to say that ostensibly bride-to be Michelle turns out to be the recipient-and must consequently postpone her wedding if she is to undertake her artistic African safari. Yet Halberstadt tantalizes looks at her colleagues one by one as possible recipients. While these scenarios are skillfully described, the device itself finally becomes more predictable than revelatory. If the play makes no major statement about the power of fame and celebrity, it nevertheless entertains and provides some welcome food for thought about art.

Under the sharp direction of Tiffany Nicole Greene, the Bridge Rep make that thoughtfulness very appealing. Angela K. Thomas has the right acerbic delivery as Michelle but never loses sight of her vulnerability as Kim's best friend. Bari Sebastian has the idiosyncratic style of an Oscar Levant in his on-going skepticism about his colleagues' respective philosophies and motivations. Katharine Chen Lerner convincingly moves from a kind of deadpan defensiveness about her art to a sympathetic position as Michelle's friend and Sebastian's love interest. John Tracey does well articulating Austin's frustrations as the 'white competitor.' High marks go to Skylar Burks for creating the impressively distinctive canvases submitted by the four competing artists and Stephen Petrilli for lighting that fully enhances each entry.

All of the painters are on the threshold of graduation and inviting futures. Bridge Rep's finely drawn "Launch Prize" makes audiences winners as well.