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A percussive score by sound designer Mikhail Fiksel, aided by Miles Polaski, aids greatly in creating a feeling of intensity, but it’s pretty much wasted on a vacuous play for which a generally capable ensemble can’t provide fulfillment. In the final hour, we watch Michael’s unlawerly confrontations with Ted Sarah’s infidelity and Michael’s jealousy Michael’s arrogance toward a classy restaurant’s waitress (Denny Dillon) his own mistreatment by his building’s lesbian president, Bob (Denny Dillon), a friend of Ted’s, who calls him a pedophile Michael’s attempt to sign a superstar basketball player (Otoja Abit) as a client Sarah’s shark-like response to Michael’s failure a catastrophic accident that leads to a horrific act of revenge and empty generalizations lacking follow-through on the meaning of happiness, people’s lack of respect for their work in an age where everyone seeks celebrity, the meaning of karma, and the ubiquity of suffering.īrian Sidney Bembridge’s spare set uses one long wall of the space, with the audience facing it in low-rise bleachers: we see a hardwood floor, a partial ceiling, a select few pieces of furniture shifted by the well-drilled actors, bookshelves at stage right, an overhead platform at left where Ted’s noisemaking can be observed, and a movable door on casters. ‘Fulfillment’ (Photo: Hunter Canning via The Broadway Blog.) She convinces him to join her yoga meditation group, where the leader insists that anxieties can be eliminated by giving up masturbation, food gorging, and porn. Sarah riles up his ambition, telling him he’d be a partner by now if the firm weren’t racist. He has a best friend, Simon (Christian Conn), a married man, to whom he shares (in coarsely intimate detail) a kinky sexual experience with another lawyer at the firm, Sarah (Susannah Flood). He’s doing well enough to purchase a newly renovated $1.4 million apartment-albeit only 752 square feet-in SoHo. Michael (Ghenga Akinnagbe) is a 40-year-old associate at a high-powered law firm headed by the oily Mark (Peter McCabe), where he’s the only black lawyer on the staff. As for the sex scenes, it’s a mystery why “sex choreographer” Yehuda Duenyas was employed, unless McSweeny himself was embarrassed to handle these not especially original (or erotic) scenes himself. While no one goes so far as to use prosthetic penises squirting white liquid, as in his distressingly uncomfortable Intimacy (2014), what remains is a similarly non-arousing, pseudo-pornographic world of profane, crass, self-serving people.
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It’s everyone for themselves in Thomas Bradshaw’s unfulfilling Fulfillment, now at the Flea in a production whose crisply effective staging by Ethan McSweeny isn’t enough to overcome the characters’ inconsistencies, the episodic plot’s implausibilities, and the sense that its scenes of sex and violence are there merely because that’s what one expects in a Bradshaw play.