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The Kittredges are practically salivating at the prospect, cooing the words “two million dollars” like an aphrodisiacal mantra.Īctually, that’s not really how the play starts. The object of the evening is to hit up their guest for a $2 million stake in a Cezanne that’s come on the market, which Flan will then resell to Japanese investors, netting them all a tidy profit. Ouisa and her art dealer husband Flan (John Benjamin Hickey) are entertaining wealthy South African friend Geoffrey (Michael Siberry) in their roomy Fifth Avenue apartment - designed by Mark Wendland in chic austerity, with a pointedly referenced double-sided Kandinsky in prominent view before a deep burgundy scrim with glimmering signs of further opulence beyond.
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A 1990 hit that spawned a Kevin Bacon party game and a catchall cultural tag for interconnectedness, it remains a work of stinging satirical brilliance, creeping poignancy and teasing ambiguity that challenges us to think about how willing we are to allow authentic experience to pierce our surfaces. That heat is due in part to Cullman’s whiplash pacing, with actors literally bolting onto the stage hollering their entrance lines, and scenes that fold together with the dizzying dexterity of an ace card shark shuffling the deck. While those two sensational performances occupy the play’s molten center, the entire large ensemble that surrounds them is on fire.
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The thoroughbred Allison Janney stars as Ouisa Kittredge, a well-heeled Manhattan WASP who dreams in dollar signs until a beguiling young African-American trickster, imbued with both obfuscation and naked yearning by Corey Hawkins, exposes her to the spiritual emptiness beneath her complacent sophistication. The 2011 Broadway revival of The House of Blue Leaves was too unbalanced to do the job, but Trip Cullman’s razor-sharp staging of Six Degrees of Separation serves as a welcome reminder of the fiercely intelligent, pungently funny voice of playwright John Guare at his vintage best.
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