Review of ‘America The Beautiful’ (Chapter One): “Triple-feature play is a creative triple threat”

London’s King’s Theatre presents the UK premiere of Neil LaBute’s collection of short plays, produced in collaboration with the Greenwich Theatre. Guillermo Nazara shares his views on the show to let us know if its savage narrative will take audiences on a wild  ride.

“Be prepared to be offended”, whispers the lady behind my row to her evening companion. They know what they’ve come for. And LaBute’s reputation precedes him. He’s been called brutal, divisive, and deliciously controversial. In a time when everything can be disrespectful and cancellation-worthy, attending a show that doesn’t mind raising a middle finger to any professional victim feels refreshing at the least.

I must caution you, however — this is not the type that will make you question your morals. Or maybe it will, but it’s not as polemic as it might have been advertised. And by some surprising coincidence, that’s made it even better.

Four actors, three plays, and a roster of conflicting emotions and horrible situations. Tragedy, thriller, and dark humour intertwine throughout this gripping array of narratives, all of which are delivered with almost impeccable dexterity, both in writing and acting.

LaBute’s thematic exploration is surprisingly profound despite the recount’s limited duration, which is simultaneously executed with excellent pacing. Each story is given the necessary space to breathe, evolve, and resonate — even if that implies bonding with a couple of adulterers plotting to murder their sugar daddy.

Overall, each piece is deftly structured. The script captivates the audience from the beginning, providing them with all the necessary expositional elements while immediately plunging into the conflict. Everything is perfectly balanced — nothing comes off too rushed or stagnant. The tension builds up with ample naturalness and steadiness, demonstrating not only narrative instinct but also the command of an experienced author who knows exactly what he’s doing and why.

Despite their exaggerated traits, the characters do not come across as archetypal or implausible. The text masterfully makes their motivations understandable, constructing deeply layered personages that brim with humanity and individuality. We might be horrified- and I sincerely hope everyone who’s seen this show is -by their desires and actions, but they still have a voice worth hearing. And even if their actions are terrible, we want to give them the chance to explain themselves.

Such brilliance only dims on the few occasions when the dialogue becomes sloppy. On the whole, its flow is constant and abundant. Yet, the excessive use of interjections, particularly during the first excerpt, compromises its impact. And far from adding credibility, it creates a sense of contrivance.

The renditions are extremely competent and teem with chemistry, presence, nuance, and flair. Borris Anthony York earns the highest praise through his extraordinary double-role portrayal, transforming from an insidious femboy with Machiavellian tendencies to a volatile soldier tried for killing his wife. His broad range is complemented by the exquisite depth and richness he brings to each character, making both piercingly truthful — and inevitably, haunting.

You may be appalled by many things in this show. All of them, for that matter. Except for one — its quality. Gripping, introspective, and deliciously ironic, the first chapter of America The Beautiful sets a new standard for the King’s Head’s current offer, championing craftsmanship on every level through a reduced yet skillfully implemented production of a reduced yet skillfully written assortment of plays. The title savagely mocks the picture it paints, but there’s no doubt that its ugliness is, in fact, painted beautifully.

Read our interview with lead actor Boris Anthony York here!

America The Beautiful‘s upcoming chapters will play at London’s King’s Head Theatre from 16 to 21 March. Tickets are available on the following link.

By Guillermo Nazara