OFF-BROADWAY REVIEW
OFF-BROADWAY REVIEW OF SPIRIT CONTROL
Reviewed by Ron S. Covar
Published 2010-10-27
ADAM ’S PLIGHT
Warning: Spoiler Ahead
Jeremy is a variant of a biblical name which means “God will raise up.” Sisto is a variant of the
word Six which refers to a breed of superhuman in a Philip K. Dick novel.
In late 1999, countless people saw how Jeremy Sisto lived up to his name when he effortlessly
revived a dead man. The event was telecast by CBS throughout the United States, and it was
later seen around the world.
Eleven years later, Jeremy seemed to have lost his touch because last night, New Yorkers saw
how Jeremy Sisto had trouble saving the life of a perfectly healthy woman. It happened on 55th
Street, between 6th and 7th Avenues.
Yes, Jeremy Sisto raised Lazarus from the dead in the 1999 CBS TV movie, Jesus, where
Sisto played the title character. And yes, Jeremy Sisto had trouble saving the life of Maxine in
the stage play, Spirit Control, which currently plays at New York City Center on 55th Street,
between 6th and 7th Avenues.
Spirit Control is billed as a journey to the tragic consequences after an air traffic controller, who
is blessed with a perfect family and an unblemished work record, guided a terrified female plane
passenger to an emergency landing after her pilot suffered a heart attack.
Opening with two men behind a counter facing a monitor and a frantic woman’ s voice, Spirit
Control immediately grabs the audience’ s attention. This first scene will probably rank as this
season’ s most suspenseful. Thanks to Jeremy Sisto’ s incredibly pitch-perfect performance.
Playwright Beau Willimon does not waste time as he immediately transports his audience
straight into the inciting incident which propels lead character, Adam Wyatt (excellently
played by Jeremy Sisto), into the abyss which eventually ruins not only his life but the lives
of his family as well. With this riveting takeoff, Spirit Control glides its audience towards an
entrancing flight inside the tortured mind of Adam Wyatt.
As an air traffic controller giving instructions on how to land a plane, Jeremy Sisto is absolutely
endearing and totally convincing that it won’ t be a surprise if anyone in the audience who has
never even seen a plane cockpit is able to land a plane by himself as soon as he exits the theater. Sisto is undoubtedly Adam Wyatt incarnate as he inhabits this complex character completely. Sisto’ s highly nuanced performance serves as a lesson in acting, whether it be the movement of his hands to indicate exasperation or the narrowing of his eyes to recall the position of the instrument gauges and knobs in the cockpit as he gives instruction to Maxine. Sisto’ s meeting with his son, Tommy, and his valiant efforts to have a reunion with his two sons and former wife on Christmas is truly a touching moment. If Jeremy Sisto’ s restrained and unsentimental performance as he makes his futile attempts to reconnect with his estranged family does not melt one’ s heart, nothing else can. Jeremy Sisto’ s flawless performance lingers long after the play is over.
Playing the tricky role of Maxine, the talented Mia Barron is a natural as she matches Sisto’ s
acting brilliance. Barron is undoubtedly a terrific actress. Watching Jeremy Sisto and Mia Barron
together makes one think that the characters, Adam and Maxine, were written purposely for these two amazing actors. Their chemistry is palpable, making their scenes together a delight to watch.
Maggie Lacey delivers a fine performance as Jess Wyatt, Adam’ s wife. In the role of Adam’ s
friend and co-worker, Brian Hutchison also gives a convincing performance as Karl. However,
Karl seems too good to be true as he takes the concept of friendship to a whole new level by
taking over Adam’ s domestic responsibility after Adam leaves his wife and two sons.
Aaron Michael Davies is also effective as Tommy Wyatt, Adam’ s distant (literally and
figuratively) and bitter son who harbors deep-seated anger over Adam for leaving his family.
Charles Borland gives an equally fine performance as the FAA official who conducts the
investigation following Adam’ s attempt to save Maxine.
Robin Vest’ s spare yet highly functional scenic design is very effective. Aaron Rhyne’ s
projection design, which merely suggests the location, is visually appealing although some of
the projected images (e.g., Adam’ s cabin, Adam’ s house, bar) do not seem to be consistent with the rest of the play’ s highly realistic tone. Indeed, director Henry Wishcamper tries to make this play as realistic as possible. Even Jeremy Sisto actually chops real wood using real ax on stage (which, strangely, draws some unexpected applause from the apparently impressed audience).
Sisto looks every inch like his character and so do the other actors in this production. Costume
designer Jenny Mannis does a great job of dressing her actors realistically.
Complemented by Chas Willimon’ s original music, Broken Chord’ s sound design heightens the tension while providing transition between scenes. Natasha Katz’ s lighting enhances the overall production.
In order to be fully appreciated, this play needs complete attention from its audience. The
first act ends with a subtle hint in order to make way for the second act which gives the play a
whole new meaning. To glide the audience towards this impeding dramatic turn, director Henry
Wishcamper’ s splendid staging provides ample visual and verbal clues (e.g., Maxine’ s dress
which never changes; Maxine’ s unchanged look after more than 25 years; Maxine’ s unusual
entrance at the end of the first act; Adam’ s later remark to Maxine: “ You haven’ t aged since the
last time…” , etc.).
After the highly-engaging first act, the audience begins to wonder how this production will be
able to at least match it in the second act. Audience expectations have been raised, and anything
less could send the second act crashing down immediately after takeoff.
But Beau Willimon has crafted a meticulously structured plot with all elements coming together
like a well-oiled airplane. Spanning over 25 years and broken down into three periods, the play
does not feel episodic at all. Despite the time gap, the audience feels the characters’ emotions
flowing unabated throughout the performance. This is a combined result of Willimon’ s skillful
writing and Wishcamper’ s first-rate staging. Director Henry Wishcamper steers Beau Willimon’s brilliant play into an unforgettable experience for its stunned audience. Under Wishcamper’ s deft direction, one is also thankful that he avoids navigating this smartly-written play into a purely melodramatic tearjerker.
Notwithstanding his obvious tragic flaw, Adam cannot be completely faulted for allowing
himself to be swallowed by his guilt. His family’ s indifference towards him, including his
inability to communicate with his two sons (which is ironic since he owns cell phone stores,
and gives cell phones as gifts to his son), has pushed him further down the quagmire that he
has unwittingly created for himself. Despite his efforts to free himself from it (as shown by his
attempts to send his Maxine away in several scenes), Adam is oftentimes compelled to find
solace in his Maxine since he has no one else to turn to.
Some things are indeed destined to happen, just like the protagonist in Tommy’ s book who
survived the Nazis but did not survive a sinking ship. Even if Adam succeeds in saving Maxine
from the crash, he has no power over the rest of her life.
Through Maxine, Willimon has cleverly introduced the story of old Giuseppe and his grandson.
Standing atop a hill, old Giuseppe tells his grandson that he (Giuseppe) built all those boats that
they see below. Then, old Giuseppe tells his grandson that he also built all those houses that they see. But old Giuseppe laments that people did not call him Giuseppe, the boat builder. People did not call him Giuseppe, the house builder either. But when old Giuseppe fucks a goat...
Sadly, this joke about old Giuseppe clearly mirrors Adam’ s terrible plight.
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