Alliance’s ‘Reservoir’ hits surprising depths on addiction, aging

Upon learning some of his grandparents are struggling with dementia, Josh convinces himself that helping them stave off cognitive decline will help him stay on track and sober. Of course, we know that this is just a distraction to keep him from drinking, but Josh commits to helping his elders improve their mental health by eating healthier, working out and challenging their brains.

Credit: Photo by Greg Mooney

Credit: Photo by Greg Mooney

While this may seem like a setup for a kooky comedy — and Brasch’s script does have a comedic sensibility — the play spends more time on the grim realities of addiction and aging, peppering in moments of dark humor throughout. The script is quite funny, with a quickness like that of Amy Sherman-Palladino (TV’s “Gilmore Girls,” “The Marvelous Mrs. Maisel”) that seemed to fly over the heads of some audience members. This may have something to do with the fact that, while the play centers on aging and thus draws an older demographic, much of the comedy feels aimed at a millennial/Gen-Z crowd: There are jokes about vegan anarchist co-ops and looking at penises on the Internet.

Really, just as Josh’s anti-Alzheimer’s crusade is more about his own issues than those of his loved ones, the play is more aimed at grandchildren than at grandparents. Still, each of the grandparent characters is painted with depth and complexity, given sharp specificity while still feeling like archetypes that many of us can recognize.

These portraits are supported by a superb cast. Joyce Cohen, Mark Kincaid, Peter Van Wagner and Lori Wilner bring humor and pathos to the grandparent roles, while Vanessa Lock and Rodney Lizcano dazzle in a number of ancillary roles. But while all of these performances are affecting and finely calibrated, it’s Philip Schneider as Josh and Wilner as Beverly, his snarky but wise paternal grandmother, who make up the emotional core of the show.

Obviously, as the protagonist and narrator, the bulk of carrying the narrative falls to Schneider, and the frenetic, idiosyncratic charm that he brings to the role is like a shot of espresso right into the production’s veins. He handles Brasch’s offbeat dialogue so naturally, you would think he wrote the lines himself.

As for Wilner, her character is one of the most complex, and she balances every note of it like a seasoned pro. Her Beverly is caustic and witty, observant and fiercely intelligent, caring while not being particularly warm. Hers is perhaps the most comforting (and hilarious) presence in the play, and the relationship between her and Josh is the most keenly felt.

Credit: Photo by Greg Mooney

Credit: Photo by Greg Mooney

The staging by Shelley Butler leans into the inherent theatricality of Brasch’s script. Takeshi Kata’s set design gives us the feeling that we are inside Josh’s brain as he is feeling his way through his addiction. Jeanette Oi-Suk Yew’s lighting design and Michael Costagliola’s sound design both help create recognizable spaces, particularly in the more abstract moments, where they are used to represent Josh’s mental state.

The only production hiccups are the places where the overtly autobiographical nature of the script starts to become distracting. Despite being a retelling of real events, the theme of addiction doesn’t always meld perfectly with the theme of aging in a theatrical setting. Potentially meaningful stretches of time are skipped over, and the last 15 minutes or so preceding the final scene seem to meander.

However, the emotional payout at the end is enough to bring tears to the eyes of even hard-hearted viewers. Any pacing or tonal inconsistencies are forgotten as relationships take center stage, and we are left with the show’s core message: Just hold onto the things that matter for as long as you can.

THEATER REVIEW

“The Reservoir”

Through May 4 at the Alliance Theatre. 7:30 p.m. Wednesdays, Thursdays, Fridays; 2 and 7:30 p.m. Saturdays and Sundays (2 p.m. only May 4). $25-$50. 1280 Peachtree St. NE, Atlanta. alliancetheatre.org

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Luke Evans is an Atlanta-based writer, critic and dramaturge. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front Theatre and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.

Credit: ArtsATL

Credit: ArtsATL

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