Review: Chair

It should be no surprise that Chair, the new Edward Bond play freshly opened at the Duke on 42nd Street, is no cheery romp through the Garden of Earthly Pleasures. Bond has a well-earned notoriety for writing brutal, terrifying plays and Chair certainly lives up to that reputation. Bond's theme here is the dehumanization of the individual by the state, and he pursues this theme with a steadfast resolve.

Director and longtime Bond collaborator Robert Woodruff keeps the tone of the play cool and distant throughout. Featuring a brutally minimalist set designed by David Zinn, the stage is stripped down to appear almost naked. Mark Barton's light design complements this bleakness with a cold, crisp palette. Long, blank white walls are broken up by child-like crayon drawings, scribbled on large pieces of paper. A small table and a few chairs give something of an anchor to the set, but the sparse expanse seems to engulf the actors throughout the show.

The horror of Chair doesn't come in spurts of blood or passionate emotion. Rather, the dread imbued in the audience is a barren and empty one. In a play where kindness is a capital offense, our connection to humanity is the first casualty.

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