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A Knockout Drama That Pulls No Punches
The New Group and Tectonic Theater’s One Arm
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As a respected, influential and good-looking New York City theater critic, I get to see plenty of shows, which for some odd reason usually boil down to a screwed-up family yelling at each other for two to three butt-cramping hours, ultimately signifying little more than the need for a bathroom break and a rush to the nearest bar. So, it’s been a long damn time since I left a theater wishing the show had lasted longer.
The New Group and Tectonic Theater Project’s presentation of Tennessee Williams’ One Arm is an edgy, enthralling tragedy of a young boxer’s downfall from Light Heavyweight Champion of the Pacific Fleet, to New Orleans street hustler, to electric chair bound inmate. The show’s brisk, intense and imaginative 85 minutes will have you wishing the end was just an intermission and that somehow everything will be alright for one-armed Ollie, played with smoldering restraint by Claybourne Elder. Alas, the three years of getting by on his sculpted physique and the perversions of others was not a bad dream. There is no more taking back the hours following his title fight than there is recovering the arm or self-respect which would lead to his eventual downfall.
Kudos are awarded to Elder and the entire ensemble cast, many of whom took on multiple roles to bring the show’s journey from boxing ring to French Quarter to death row full circle. Director Moises Kaufman, who spent ten years adapting and maneuvering Tennessee Williams’ 1948 short story and screenplay to the New York stage, should soon be adding Obie honors to his Tony and Emmy nominated resume.
Fear not theater goers who want more from their night on the town than a jukebox musical or a dysfunctional family drama that pales in comparison to last Thanksgiving’s family dinner. Raise your eight-ounce gloves, and gin and tonics high for One Arm. You won’t laugh much, you’ll shed a tear, but it kicks Spider-man’s ass.