Review: THE MEAT KINGS (INC.) OF BROOKLYN HEIGHTS, The Park Theatre
Marc Douet
Plays often find their voice in the gritty underbelly of life. A harsh but honest tale of blue collar underdogs aiming for something better than mediocrity. Meat Kings (Inc) of Brooklyn Heights hits the mark perfectly in this brilliantly executed tale that drips with blood, sweat and toil.
Paula (Jackie Clune) is the boss of Cafarelli & Sons, one of the oldest and best established New York butchers. But is struggling to preserve her family legacy as their very existence is being challenged. In the backroom a motely crew of misfits, has-beens and wannabes diligently ply their trade. David (Eugene McCoy) is a former Wall Street trader with a fractious ex-wife and children he rarely sees. As senior butcher he confidently lords it over the apprentices as they fight for their livelihoods. ‘T’ (Mithra Malek) is the temp, recently released from prison and trying to find her way in life. Billy (Ash Hunter) is another ex-con trying to fund his mother’s medical bills and cope with a different kind of incarceration. Then there is the idealistic JD (Marcello Cruz), whose immigration status is hanging by a thread. Paula will soon have to decide who from Billy and JD will be retained on a permanent basis. But how does she choose when both are desperate for the chance to earn a living?
Debutant playwright Hannah Doran displays a remarkable command of authentic New York prose. This quality comes to the fore in Act 2 as the characters’ back stories begin to unravel. The American dream envisaged by Donald Trump is laid bare, particularly where JD’s plight is concerned, and leave no doubt as to where blame lies for the state of the union. Some incisive direction from George Turvey keeps the action ticking over nicely. The set designed by Mona Camille, is both brilliant and simple as sides of meat hang from the ceiling. Plastic strips covering the doorway add to the clammy atmosphere and authenticity of the narrative.
The five strong cast are outstanding throughout the piece and have mastered near perfect accents, with much credit due to dialect coach Caitlin Stegemoller. It’s easy to overdo a New York accent but all deliver well controlled performances that are completely believable. Whilst the pacing between Act 1 and 2 could have been better managed, Hannah Doran has written a play that is both edgy and polished. Her influences are clearly on show as Arthur Miller and David Mamet immediately spring to mind, but where’s the harm in being influenced by the best. This gets an extra star for the sheer commitment to authenticity.
**** Four stars
Reviewed by: Brian Penn
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