‘Cult of Love’ Review: Shailene Woodley and Barbie Ferreira Make Their Broadway Debuts in Leslye Headland’s Electric Family Drama

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As a former member of a deeply religious family myself, I found Leslye Headland’s “Form an Opinion” to be a powerful and thought-provoking piece that delves into the complexities of faith, familial relationships, and pride. The play’s exploration of these themes resonated with me on a personal level, as it mirrored some of my own experiences growing up in a similar environment.

At this particular season, it’s the time for the Dahl family – a closely bonded Christian group – who are central characters in Leslye Headland’s latest play titled “Cult of Love“. Christmas holds a special place in their hearts, serving as a gathering point for the four grown children (alongside their partners) to meet at the older Dahls’ residence. They indulge in large batches of Manhattans, feast on rich desserts, hide some figgy pudding away and sing hymns praising their beloved Lord and savior Jesus Christ.

Despite some individual challenges faced by members of the Dahl family – such as struggles with faith, memory loss, substance recovery, and mental health concerns – they tend to conceal or deny these issues to uphold their personal image.

At the Helen Hayes theater in New York, Cult of Love, directed by Trip Cullman (a longtime collaborator of Headland), is currently running. This play, part of Headland’s Seven Deadly Plays series, delves into the Dahls as they celebrate Christmas while grappling with secrets and truths hidden beneath the surface. The production concludes Headland’s Seven Deadly Plays, a writing project she initiated in 2006 with the IAMA Theater Company based in Los Angeles. The play masterfully explores the form pride can take within a tight-knit family, offering incisive commentary on religious arrogance and well-placed humor about the sin that is said to be the root of all others.

The main actors, among them Shailene Woodley and Barbie Ferreira making their Broadway debuts, deliver convincing performances that show a genuine connection to the script. Joining them are Zachary Quinto, Rebecca Henderson known from “The Acolyte” and Roberta Colindrez who starred in “Fun Home”, all giving excellent performances. However, the storyline itself can be a bit inconsistent, boasting lofty ambitions with instances of deep insight, yet still searching for meaning in other parts.

The story of the Cult of Love commences with one of the Dahls’ favorite pastimes: singing Christmas carols. Similar to the family in Joshua Oppenheimer’s unusual apocalyptic musical, The End, the Dahls express themselves more sincerely when they sing. The carols, skillfully overseen by Jacinth Greywoode and comprising a blend of well-known Christmas tunes, serve as a window offering us a clearer view into their longing for mutual comprehension.

I, as a captivated spectator, bear witness to Bill, played by David Rasche, taking the seat at the piano and playing “The Cherry-Tree Carol.” Not long after, his partner Ginny, skillfully portrayed by Marie Winningham, joins in. The children, led by Evie (Rebecca Henderson), the eldest Dahl daughter, echo their parents’ harmonies. Meanwhile, Pippa (Roberta Colindrez), Evie’s spouse, remains quiet. The eldest son Mark (Zachary Quinto) and his wife Rachel (Molly Bernard from ‘Younger’) are also among the singers. James (Christopher Lowell), Diana’s husband, is there too. However, it’s Diana (Shailene Woodley), the youngest Dahl daughter, who leaves an indelible impression on us all with her enchanting vocal performance.

As soon as the song finishes playing, the Dahls’ friendly atmosphere dissipates. They become a disgruntled group, criticizing Johnny (Christopher Sears, performing exceptionally well), who is late once again. Ginny insists on waiting for Johnny before starting dinner, causing the other siblings and their partners to alleviate their growing hunger with additional cookies and wine.

While the group is holding out for Johnny, hidden truths gradually surface; much like Branden Jacobs-Jenkins in “Appropriate“, Headland delves into how secrets distort reality and entrap families within their own self-inflicted distressing prisons. Similarly to Stephen Karam’s play and subsequent film “The Humans“, Cult of Love reimagines a family gathering (in this case, Thanksgiving) as a psychological suspense story.

Each of these pieces delves into reunion scenarios as complex meetings between old hurts, current circumstances, and future aspirations. However, Headland’s play stands out by also examining these clashes in light of pride: How does this vice, characterized by unyielding self-centeredness and a lack of humility, skew the Dahls’ relationship?

The answer leans more towards inference than fact. The play, titled “Cult of Love,” has a similar vibe to “Appropriate.” It crafts detailed portraits of the Dahls without strictly adhering to a traditional narrative. Instead, it reveals truths through conversations between characters grouped in pairs or trios, hinting at underlying events. The entire 100-minute play unfolds within Ginny and Bill’s Connecticut farmhouse, which is beautifully designed by John Lee Beatty with a chimney adorned with colorful stockings, rustic furniture, and wood-paneled walls. The soft lighting design by Heather Gilbert guides us through the Christmas Eve mood subtly.

In an environment filled with nostalgic memories from their past, the Dahls find themselves locked in a fruitless dispute over the present, hoping to maintain some semblance of unity for the future. Rachel yearns for her family to recognize and acknowledge the harsh homophobia she and her spouse Pippa have faced, particularly during their recent under-attended wedding. The couple now aspire to establish a family together. Mark, once drawn to law by his loss of faith, is grappling with marital issues (Evie’s dissatisfaction being justified) and career uncertainties, having recently worked as a clerk for Justice Roberts without a clear idea of what lies ahead. Both siblings are concerned about their father, showing signs of dementia, and Diana, whose mental health concerns have long been overlooked by their parents. James, her husband, appears uneasy as well, suggesting there may be hidden truths in their relationship too.

In this play, Headland manages to juggle multiple themes including homophobia, religious uncertainty, elderly parents, mental health issues, and drug addiction – quite a challenging task! Notably, each character is skillfully portrayed, and the fast-paced, intertwining dialogue is easy to follow. However, it’s worth mentioning that some storylines are developed with more nuance than others.

Johnnie and Barbie Ferreira’s character, a friend from his support group, are among those who have been overlooked. Sears delivers a compelling performance, embodying Johnnie’s frantic struggle to keep afloat amidst the corrupt family’s turmoil, but this reviewer felt that there could have been more depth given to this character. Ferreira seems to grapple with finding nuance in her role; her character appears more as a symbol or representative of outsiders rather than a fully developed individual.

In addition to the principal characters, it would be advantageous to delve deeper into the complexities of other roles in Roald Dahl’s production. Colindrez effectively showcases her comedic skills and makes a strong impact, yet Pippa, similar to Bernard’s Rachel, appears somewhat enigmatic and could benefit from more dimensionality.

The play shines brightest when it centers around characters like Ginny, Mark, Evie, and Diana, each embodying distinct aspects of pride. In doing so, the author, having been brought up in an equally devout household, grapples with thought-provoking issues concerning faith and arrogance.

Ginny overreacts to any remarks about her parenting, believing her affection excuses everything. Winningham’s subtle expressions, particularly her quivering lips at even the slightest criticism, are striking in their authenticity. Mark and Evie struggle similarly; they’ve mentally abandoned religion but can’t fully emotionally detach. Diana, whose religious delusions intensify throughout the play, is one of the most heartbreaking characters, and Woodley delivers a superb performance in a role that demands both humor and subtle shadows of darkness.

Headland’s work with these characters can sometimes be chaotic, yet for this reviewer, who shares a similar upbringing in Christian beliefs, the outcome is nothing short of thrilling. With chilling accuracy, the playwright portrays the delusion that takes root in families who wield faith as a means of control. She illustrates how an intolerance towards doubt and dismissal of questions that could challenge their holiness narrows the family’s perspective, making it more challenging for them to perceive the impending tragedy encircling them.

Location: The Helen Hayes, New York City

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2024-12-13 22:56