Review: An uncertain ‘Curve of Departure’ at South Coast Repertory

By Tom Titus

Oct. 9, 2017 5:05 PM PT

Take a contrasting family unit — two blacks, two homosexuals, one character losing touch with reality — and you have the ingredients for some meaningful conflict. At least that’s the premise of Rachel Bonds’ new play, “Curve of Departure,” now in its world premiere at South Coast Repertory.

These disparities, however, hardly figure into the plot of this curiously semi-involving drama. Rather, Bonds offers them more as window dressing for issues which surface in her play’s brief (80 minutes) running time, during which resolution is conspicuous by its absence.

Under Mike Donahue’s delicate direction, “Curve of Departure” brings human frailty to the surface, but never really finishes its journey into our hearts. Playgoers are virtually asked to complete the process in their own minds.

Bonds’ four characters, who share a New Mexico hotel room as they gather for a funeral, consist of the elderly and shaky Rudy (Allan Miller), his supportive daughter-in-law Linda (Kim Staunton), her son Felix (Larry Powell) and his boyfriend Jackson (Christian Barillas), who bring their own troubles into the mixture. The funeral is for Rudy’s son and Linda’s ex-husband, who, we learn, was hardly the salt of the earth.

Miller’s character, for whom no real city exists outside of New York, is the most engaging of the lot, except that he’s asleep for much of the time. The task of plot management on stage falls to Staunton, who is excellent in that regard, riding herd on both the old man and her apparently troubled son.

Powell and Barillas engagingly present a contented couple whose relationship is endangered by Jackson’s wish to adopt his drug-addled sister’s little girl. Barillas projects heartfelt emotion while Powell’s character is more enigmatic and noncommittal, the result of sketchy craftsmanship by the playwright.

There is a next-day scene outside the motel in which some semblance of resolution could have been achieved, as well as a toast with airline-type liquor bottles which might have successfully ended the play. However, Bonds chooses to press on and further cloud her story.

This element raises a curious point. As the scene changes, Linda folds up her cot and moves it upstage — so where did she spend the night? And does Rudy actually plan to end his life on the Ides of March? Inquiring minds won’t be satisfied.

“Curve of Departure” raises more questions than it dispenses answers to, which indicates its playwright’s work is far from over. It’s an interesting, if unfinished effort at South Coast Repertory.