Trust, truth, moral responsibility, and profit collide in Sarah Burgess’ comedy-drama “Dry Powder,” a glimpse into the complex world of high finance, which Live Theatre Workshop opened Saturday, Oct. 16.
The four-character play begins with Rick (Cliff Madison), founder and president of a New York private equity firm, reeling from a public relations debacle. Rick threw a lavish $1 million engagement party with an elephant (yes, a real pachyderm) that coincided with large-scale layoffs at a grocery store chain that the firm bought. Criticized in The New York Times, Rick is fielding calls from irate investors who are being targeted by angry protestors.
Jenny (Lori Hunt), one of the company’s founding partners, is unable to see beyond the bottom line. She encouraged Rick to have the party and dismissed the public backlash as jealousy.
Jenny’s rival in the firm — fellow founding partner Seth (Stephen Frankenfield) — has an idea to shore up the company’s image and make some money. He’s worked out a ganga deal to purchase Sacramento, California-based Landmark Luggage. Working with Jeff (Tyler Gastelum), the CEO of the luggage company, Seth aims to grow Landmark, increase its U.S. employment, and exit with profit. Sounds like a worthy plan, right?
Not so fast. Hardcore, all business Jenny agrees the equity firm should buy Landmark at the bargain-basement price, but she wants to sell off its assets, send the manufacturing to Bangladesh, and refocus the market from the United States to China for a bigger return.
Rick reveals that the firm’s “dry powder,” the slang term for unallocated capital that can be invested, has taken a nosedive thanks to investors yanking their support after the party-layoffs fiasco. There’s not enough cash on hand to buy Landmark and Rick is set to engage an investor with big bucks and a questionable reputation.
“Dry Powder,” a sharp, smart play packed with witty, lightning-fast dialogue, is filled with finance-speak and acronyms — like “LPs,” which stands for limited partners.
The Live Theatre acting quartet owns that dialogue and director Sam Rush keeps the pace brisk and the tension high.
The funny banter and verbal sparring between Jenny and Seth range from complex concepts and to a petty argument over who got the higher score on the GMAT (the Graduate Management Admission Test, the business school entry exam).
Hunt steps into Jenny’s black pumps and embraces the speed-speaking, statistic-spewing character who doesn’t like parties and thinks an ideal vacation is a plane ride over Antarctica. Hunt usually straight and stern in her role as Jenny, shows her physical humor chops when she struts while she decries clichés.
While Hunt excels in the ice-queen role with the funniest lines, playwright Burgess’ depiction of Jenny is harsh and feels like a caricature of an overly driven, unidimensional woman. Hunt could have handled some nuance in Jenny’s character.
Frankenfield gives Seth a wholesome, earnest quality and Gastelum’s Jeff is an affable character who wants to do the right thing. Scenes with Frankenfield and Gastelum are especially tense as the twosome struggle with trust and truth. Gastelum’s face reveals Jeff’s hurt at Seth’s possible duplicity.
Madison exudes his passion and humor as flummoxed executive Rick. His facial expressions are spot on and his tantrum involving a cell phone is very funny and relatable.
Live Theatre, in its new digs on Fort Lowell Road, retained the intimate feel and thrust-theater design of its former Speedway location. A rectangular stage is surrounded on three sides by seating.
The stage is set with four tables that become a desk, a table at a bar, and seating. The chic, minimalist set, which projects corporate steeliness, is backed by an opaque screen comprised of 32 squares backlit with colored lights. Director Rush positions the actors on and among the tables, which emphasizes divisions and conflicts.
Burgess uses humor to dip into some sensitive, serious financial issues relative today. Discussion of layoffs and profit over people may make some audience members squirm in their seats.
Live Theatre Workshop’s well-executed production of “Dry Powder continues through Nov. 20.
