Hellfire at Pastime Foyer in A Vivid New Boise

From A Vivid New Boise at Signature Theatre Photograph: Joan Marcus

The break room at an Idaho Pastime Foyer is pretty much as good a spot as any to want for the top of the world. That’s very true of the one designed by Wilson Chin for A Vivid New Boise at Signature Theatre — a meticulously ominous area with a kitchen counter alongside the rear wall, a smattering of workplace-safety and -harassment posters, and a claustrophobic variety of drawers. That is realism pitched to an unsettling excessive, a mundanity that begins to overwhelm us even earlier than the play will get going.

If you understand Samuel D. Hunter’s work, overwhelming realism is what you’d anticipate. He has made a profession of writing dramas primarily set in his residence state with characters in conditions that fluctuate from dead-end to determined with bleak humor and sometimes greater than a contact of mysticism. You’ll see all of it on this play — a comparatively early work that premiered on the Wild Undertaking in 2010. (Again then, Scott Brown known as it a “easy, very good little heartland heartbreaker.”) The motion begins as Will (Peter Mark Kendall) applies for a job at Pastime Foyer, dodging supervisor Pauline’s (Eva Kaminsky) questions on his earlier employment as a church accountant. At first, Will looks like an everyman, and Kendall offers him an approachable reticence within the face of Kaminsky’s successfully broader portrayal of a small-time big-box tyrant. However quickly, he begins to behave in his personal unusual methods. He approaches a teenage worker named Alex (Ignacio Diaz-Silvero) and declares that he’s his organic father. He reveals to Anna (Anna Baryshnikov honing a winsome ditziness), who hides out within the retailer after darkish to learn, that he’s engaged on a novelesque weblog. We ultimately study that the work is concerning the coming apocalypse.

Watching Will is just a little like observing the proverbial frog in a pot of boiling water. You’re with him towards the dreary slog of checking receipts and microwaving soup, however little by little, the hellfire behind his eyes reveals itself. The church the place he used to work — as Alex’s artist brother, Leroy (Angus O’Brien), quickly prods him to confess — was just lately within the information for being an end-times cult, and Will hasn’t given up on its teachings. Oliver Butler’s path retains issues briskly odd and shot by way of with dread. The break-room interactions, a part of Pauline’s beloved retail ecosystem, are almost within the sitcom realm of Superstore — if David Lynch had stepped in to direct an episode or two. A tv in the back of the room that often exhibits “Pastime Foyer TV” of two speaking heads droning on about craft provides typically will get the fallacious sign and begins enjoying footage of surgical procedures. In scenes that happen exterior of the constructing, Jennifer Schriever’s lighting isolates characters in inky blackness in entrance of vibrant bands of neon. Will’s extremism is possibly an inexpensive outgrowth from circumstances resembling these. Hunter desires you on the fence — with rapture on one aspect and boring previous wage labor on the opposite.

We’re at a time of doubtless peak Samuel D. Hunter. His residency on the Signature kicked off in Might with the beautiful new two-hander A Case for the Existence of God. He wrote the screenplay for the movie model of The Whale (directed by Darren Aronofsky and that includes Brendan Fraser’s Oscar-nominated comeback position as an overweight professor within the throes of self-destruction) simply earlier than Boise and staged it Off Broadway in 2012. In The Whale, you may observe all of Hunter’s typical fascinations — there’s even a missionary from New Life, the identical end-times congregation Will attended in Boise — although the movie appears to magnify and misunderstand them. Aronofsky cranks the tone up from on a regular basis horror to gothic, lingering on pictures of Fraser’s prosthetic bloat and deploying a sepulchral, string-heavy rating. What humor there’s in The Whale’s script appears sucked out of the film — save in Hong Chau’s efficiency as Fraser’s buddy and makeshift nurse. (Perhaps, as an Off Broadway veteran, she was the one one who knew what tone to strike.) There’s a basic discomfort in the best way The Whale ogles its principal character’s weight that I’m unsure any method may obviate (although I haven’t seen a stage manufacturing myself), however Aronofsky and Hunter’s adaptation feels significantly wrongheaded. What works nicely in stagings of Hunter’s writing — as Boise and Existence of God exemplify nicely — is that the stress falls on the mundane with the extraordinary rising like an exhalation. However the movie tries to place the metaphor first, so there’s no area for the characters to breathe.

Talking of which, in A Vivid New Boise, Alex has panic assaults that cease his respiratory, which solely Leroy appears to know methods to alleviate, and Will has a mantra — repeating “now … now … now” between breaths — that he recites within the first scene. Later, we see the world from Will’s perspective, and there’s a horror within the mantra that feels akin to that of Alex’s panic assaults. The world is closing in,choking them each. “I get panic assaults over nothing,” Alex says at one level. “Completely nothing. I’ll be at work or at residence or at college, and out of the blue, I’ll begin shaking and I received’t have the ability to breathe.” That the panic comes on from the crushing nothing of all of it is what hyperlinks father to son. They each can’t bear the now. Who can? Spend sufficient time in a break room, and also you’ll need it to be consumed by flames too.

A Vivid New Boise is at Signature Theatre by way of March 12.