The Beauty of An Unhinged Pursuit of Self in The Jag

Blissfully mundane yet quietly chaotic, The Jag invites audiences into a world where anxiety—both pre-existing and born from messy interpersonal dynamics—becomes its own driving force. Written by Robin Schavoir and directed by Paul Felten,  the production's two week run at the Brooklyn Center for Theater Research unfolds as a series of tension-driven events that feel randomly niche and profoundly universal.

At its core, The Jag follows Tyler (played by Gilles Geary), a trouble-bound and ambitious yet wandering protagonist navigating a web of personal crises, as he embarks on a self-appointed stay in a house outside of his native Brooklyn, where he intends to finish his perpetually developing film. There, he meets the homeowner, Brian (played by Mickey Solis), a Jaguar-driving, tightly-wound foil to Tyler that often mistakes dedication to menial detail for passion. Juxtaposed passion drives both Tyler and Brian, one for an endeavor for the creative connection and attention of a scorned ex-lover, Cori-Elizabeth (played by Giovanna Drummond), and the other for a demand of subjective order and the attention of a yearned-after Heather (voiced by Chloë Sevigny). Rather than relying on high drama or explosive reveals, the play luxuriates in the small awkwardnesses, tensions, and fleeting moments that shape human relationships. But rest assured - if the escalation for fever-pitched conflict and the appreciation of petty moments is what you're looking for, this play is also sure to satiate your searches. 

The Jag's performances are delightfully prideful of the awkward and unafraid of the divulgence into prescribed personalities. Geary gives an organically uneasy standout performance as Tyler, capturing the anxious push-pull of the pursuit of influence and self-sabotage. Solis' striking play on the wealthy home-maker Brian added an airy and reassured element to the cast, made complete with delicious comedic timing and the accuracy within a sad yearning that comes with a demand for greed and order. Drummond's unwavering and holistic presence as Cori-Elizabeth compliments the chaotic dynamic of Tyler and Brian, grounding them to possibilities of fulfillment while constantly reminding them of the selfish elaboration of obsession by both parties.  I'd be regretful not to appreciate the omnipresent Heather (played by Chloë Sevigny), whose very existence catalyzes the drama and offers a literal voice of muffled reason. 

Director Paul Felten ventures into stillness and subtle pacing, allowing scenes to breathe even when discomfort droops heavy in the air. The set design by Bree Merkwan reflects the play's emotional beats, evoking a sense of transient attention and misplaced care. The sound and lighting design by Emi Verhar and Henry Mont are generous in giving back to the center's immersive space and the vulnerability of co-living in the story. 

While The Jag thrives in its attention to life's quieter catastrophes and unlikely epiphanies as a result of likely tensions, there are moments where its restraint risks slipping into stagnancy. The production rewards attention to the subversion of roleplaying with flashes of brilliance and piercing reflection on self-preservation. 

This 2-hour dance, wonderfully produced by Sophia Englesberg, Nick Newman, and Emily Lincoff, is a lovely exploration of self-description and purpose found in a Woodstock craftsman in the Hudson Valley. For audiences craving theater that finds beauty in the unhinged and humor in the banal, this run is a "jagged" triumph.

Written by Ann Tankersley