The Steppenwolf’s Grand Concourse was so promising. Set in a soup kitchen, the play opens with Shelley, a middle=aged nun, who’s been doling out soup probably for decades gives Emma, a 19 year old volunteer, a run down on survival techniques: never give any of the guests money, don’t let the guests — especially Frog — into the kitchen, wash your hands a million times and remember anyone out there in the dining hall could snap at any time. Little does she know that Emma’s the one she should be warning people about. Despite her fragile looks, Emma’s the one who’s more disturbed and more in need than anyone at the soup kitchen. She’s the one not worthy of trust. That’s a lesson, Shelley, Frog and Oscar, a down-to-earth employee take too long to learn. Frog’s looniness is quirky and appealing. Oscar’s dependability and reactions to the other characters make him easy to connect with.
The acting, dialog and set design were top notch, I liked all the characters except Emma, who turns out to be psychotic midway through the show. However. the plot, especially the ending had problems. The young playwright doesn’t seem to understand how people generally change with age so the way Shelley reacts are more in keeping with a 30-something than someone who’s in her 50s. At the end of the play the plot jumps ahead several months, some characters have made big changes in their lives, but it was hard to buy that they really would have changed as they did.
I came away thinking that the writer knew a little about the world of soup kitchens and Catholics, but not all that much. If she’d spent more time investigating these realms, we’d have a better play, a play I could recommend people flock to.