Wednesday, May 27, 2015


by Toby Zinman



by Toby Zinman

for the Inquirer

 The scourge of America strikes again! Following the hilarious, shocking, Pulitzer-winning and Tony-winning excoriation called Clybourne Park, Bruce Norris gives us Domesticated—also shocking, if not so funny.  If Clybourne Park was an exposé of the racism that lurks beneath the American skin—regardless of the color of that skin—Domesticated is an exposé of the sexism that lurks beneath the skin—regardless of the genitals.

 Starring Jeff Goldblum as Bill and Laurie Metcalf as Judy, the play begins in front of television cameras as a sex scandal shreds a political career (think Anthony Weiner, think Elliot Spitzer, etc etc) as well as a family.  As Bobbie (Mia Barron) their friend and lawyer says to Judy, “I mean, Jesus Christ, you married a gynecologist. A gynecologist who went into politics. Didn’t that tell you something?”

And it’s not as though Norris has forgotten about racism: all the people of color in the play are either servants, or naïve or annoying (like the self-obsessed talk show host played by the slick Karen Pittman). And add in a vocabulary-challenged, belligerent tranny. All this reveals not only Norris’ bigotry, but forces us to acknowledge our own. If we don’t, we risk sounding like the self-righteous socially outraged older daughter, Casey (Emily Meade is terrific).

The entire excellent ensemble doubles and triples in a variety of roles  (Mary Beth Peil is exceptionally good), and director Anna D. Shapiro moves them through the many scenes seamlessly. The minimal set (designed by Todd Rosenthal for theatre in the round) glides into reconfigurations so smoothly you never notice how it happened. 

The scenes are structured as well as implicitly commented upon by a school report, a video presentation by the younger thirteen-year-old daughter (Misha Seo), adopted from Cambodia (Norris lets no one off the hook).  Her topic is “dimorphism,” and she demonstrates in her soft, meek voice, that in nature—fish, fowl, beast--the male of the species has becomes less and less necessary, and therein lies the moral of Norris’s tale.  Women have attained more and more power, he seems to say, and medical breakthroughs in reproduction may render men unnecessary. 

Bill and Judy could easily become cartoons characters, but Goldblum and Metcalf are so subtle, so much in command of the complexity of the argument that we see them as fully human as well as two “sides” in the gender politics debate. Goldblum, nearly silent through all of Act One, speaks much meaning with his body language—sobbing into his napkin at the dinner table, freeing his coattails by raising his long predatory arms, lounging against a bar. Metcalf can visibly swallow her rage and then lash out with stunning force.

And if anybody has any hope that the battle of the sexes will achieve a negotiated and lasting peace, Norris declares them deluded. Strindberg may have found the true heir to his misogynist throne.


Mitzi E. Newhouse Theater at Lincoln Center, 150 W. 65th St. Through Jan.5. Tickets  $77-87. Information: 

We encourage respectful comments but reserve the right to delete anything that doesn't contribute to an engaging dialogue.
Help us moderate this thread by flagging comments that violate our guidelines.

Comment policy: comments are intended to be civil, friendly conversations. Please treat other participants with respect and in a way that you would want to be treated. You are responsible for what you say. And please, stay on topic. If you see an objectionable post, please report it to us using the "Report Abuse" option.

Please note that comments are monitored by staff. We reserve the right at all times to remove any information or materials that are unlawful, threatening, abusive, libelous, defamatory, obscene, vulgar, pornographic, profane, indecent or otherwise objectionable. Personal attacks, especially on other participants, are not permitted. We reserve the right to permanently block any user who violates these terms and conditions.

Additionally comments that are long, have multiple paragraph breaks, include code, or include hyperlinks may not be posted.

comments powered by Disqus
About this blog

Toby Zinman's night job since 2006 is theater critic for the Inquirer where she reviews New York and London as well as Philadelphia. Her day job: Prize-winning prof at UArts, author of five books about modern and contemporary drama, and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). She was recently named by American Theatre magazine "one of the twelve most influential critics in America."

Wendy Rosenfield has written freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She serves on the board of the American Theatre Critics Association, was a participant in the Bennington Writer's Workshop, a 2008 NEA/USC Fellow in Theater and Musical Theater, and twice was guest critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute. She received her B.A. from Bennington College and her M.L.A. from the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and spends all her free time working out and driving people places. Follow her on Twitter @WendyRosenfield.

Jim Rutter has reviewed theater for The Inquirer since September, 2011. Since 2006, he covered dance, theater and opera for the Broad Street Review, and has also written for many suburban newspapers, including The Main Line Times. In 2009, the National Endowment for the Arts awarded him a Fellowship in Arts Journalism. Thames & Hudson released his updated and revised version of Ballet and Modern Dance in June, 2012. From 1998 to 2005, he taught philosophy and logic at Drexel, and then Widener University. He also coaches Olympic Weightlifting for Liberty Barbell, and has competed at the national level in that sport since 2001.

Merilyn Jackson regularly writes on dance for The Inquirer and other publications. She specializes in the arts, literature, food, travel, and Eastern European culture and politics. In 2001, she was dance critic in residence at the Festival of Contemporary Dance in Bytom, Poland; in 2005, she received an NEA Critics’ Fellowship to Duke University’s Institute for Dance Criticism. She likes to say that dance was her first love but that when she discovered writing she began to cheat on dance. Now that she writes about dance, she’s made an honest woman of herself, although she also writes poetry.

Philly Stage
Latest Videos:
Also on
letter icon Newsletter