This new play about the contemporary art world is as juvenile as its characters.
Domitrovich -- whose puddle-shallow script was first presented at Theater for a New City last year -- thinks he has some trenchant observations to make about young people caught up in the contemporary Manhattan art and fashion worlds. But audiences are likely to disagree when they get a load of how sculptor Owen (Will Janowitz) and four friends -- foulmouthed public relations gal Maggie (Jessica Kaye), so-cool-he's-hot composer Trevor (Asher Grodman), languid and dim-witted model-designer Bella (Nicole LaLiberte), and scarf-addicted, women's fashion designer Max (Tuomas Hiltunen) -- behave towards one another in a series of flashbacks and a finale flashforward from that enforced therapeutic pit stop.
As these intelligence-challenged Gen Z figures try to shake nervous-wreck Owen out of an institutionalizing depression -- brought on by a bad review in Artforum -- they make unintentionally laugh-provoking remarks including "I used to do Coke on weekends -- I stopped when I finished high school" or "I'm the queen of everything below 14th Street" or "Our bowel movements have artistic merit." And that's only in the first 10 minutes of the two-act play!
Soon, other reasons are revealed behind Owen's overdosing lapse; most notably that Bella, who is Owen's girlfriend, slept with Trevor. Maggie and Owen later get it on, too, in her attempt at inspiring him enough to finish a large piece for Max's next runway outing. None of them sleeps with Max, who is gay -- as are so many fashion designers in plays like this. While these sexual acts are vulgar and unnecessary, they do require LaLiberte -- who is truly stunning in the wet-lipped way of cosmetics mannequins -- and Grodman to get naked and show off their nubile bodies.
Unfortunately, the acting by the live quintet (as well as four videoed figures) is inadequate -- so much so that there are times when the actors have trouble articulating their words. That basic inability also points at director Eduardo Machado's falling down on the admittedly reality-defying job. He also runs into trouble having the cast and a poker-faced stagehand in scrubs repeatedly moving furniture back and forth on Maruti Evans' serviceable set.