Hush Up
In the first minutes of Keith Bunins quixotic The Busy World Is Hushed, Brandt (Hamish Linklater), a young man being interviewed by Hannah (Jill Clayburgh), an Episcopal minister, recites the prayer that gives the play its title: O Lord, support us all the day long, until the shadows lengthen and the evening comes, and the busy world is hushed
The insertion of that prayerand Bunins sometimes crackling dialogue touching on the meaning of faithsets a reverent tone, but ultimately the play is less a spiritual journey than Oedipal drama with an intellectual varnish. There are plenty of moments for Hannah to offer daring Biblical views and rhetorical gifts, but the return of her son Thomas (Luke Macfarlane) is whats dramatic.
Like his mother, Thomas father was a religious studies scholar, but he died a probable suicide before his birth. This caused Hannah to devote her life supremely to God, which in turn bred in Thomas a rabid disdain and resentment of his mother. Now the age of his father at his death, Thomas daredevil lifestyle still aggrieves Hannah: hes splattered in blood and full of porcupine quills the first time we see him.
Brandt, meanwhile, really just wants the job of working for Hannah. So hired, hes distracted from his own esoteric writing projects and, more important, from dealing with his fathers terminal cancer and forever being single.
Its convenient that Brandt and Thomas are both gay, but in a twist that makes the play moving (if too self-consciously erudite), Hannah senses their attraction and encourages shy Brandt to pursue Thomas since a successful romance might keep her son nearer to the hearth.
Wild-child Thomas sees Hannah as an overbearing monster, and initially that seems plausible, but Hannahs concern is real, and if Brandt never mentions that shes setting the two up and if Brandts feelings for Thomas are real, whats the harm? The truth, naturally, comes out, but even that doesnt make Hannah a monster. The gorgon is Thomas, a Peter Pan possessed by powerful demons that pulverize his emotional control.
Mark Brokaws naturalistic staging curiously contrasts with Bunins writing: these people, who speak in too-elegant turns of phrase, move on stage in ways that always seem motivated and justified. While there are few scenes in which anyone sounds like a real personeven ones youd meet at Columbia U. where the play ostensibly takes placeat least what they say to each other is sharp and acute.
Linklater matches Clayburgh moment for moment with inspired line readings and genuine reactionshis Brandt is grounded no matter what the playwright tosses at him. Macfarlanes acting is less assured: He looks the lost boy but hasnt fully connected to the bad boy in Thomas as yet. Watch him handle his Act II confrontation with Clayburgh and you sense where Macfarlane may yet go as the run of the play proceeds. Perhaps its a matter of letting Thomas, at last, find himself.
Through July 9. Playwrights Horizons, 416 W. 42nd St. (betw. 8th & 9th Aves.), 212-279-4200; $65.