4000 Miles is an award-winning play set in a New York City apartment, about the relationship that develops between a disgruntled millennial and his communist grandmother. The story touches on family, friendship, and forgiveness.
The set (by Burton Yuen), a complete and very convincing living room/kitchen combo in a two bedroom apartment, is both pleasing to the eye and conducive to the story.
Amy Herzog’s script is astonishing. It is a rare thing to see the voice of contemporary, metropolitan, white youth portrayed in a meaningful and realistic way, without relying entirely on stereotypes (this is true of just about any group, of course). Yet being a Seattlite in his mid-twenties, I recognize in Leo (Adam Standley) the voice, face, manner, and attitude of the slovenly, well-read, environmentally conscious, yet thoroughly unlikeable (on the surface at least) youth.
In addition, the voice of Vera (Susan Corzatte) also resonates with a life and energy that extends far beyond usual grandma-isms. The story is compelling and, at times, outrageously funny. There is a surprising warmth and sweetness around every corner, as everyday concerns clash with extraordinary tragedy.
The play is beautifully cast, with wonderfully compelling leads in Standley and Corzatte. From the beginning, the relationship between grandmother and grandson is palpable and laden with a rich history. One hallmark of well-established relationships with good stage-chemistry, for me, is that I get a creeping sense of eavesdropping on something personal as I sit in the audience, and I certainly felt that sensation during this production.
Becca (Adria LaMorticella) appears a couple of scenes in, as Leo’s ex-girlfriend, and she, like Standley, presents a well-balanced and nuanced version of the millennial archetype, complete with bicycle, Nalgene-brand water bottle, and world-weary self-absorption. And Sara Porkalob, whom I have had the joy of seeing in numerous productions, brings her usual intoxicating emotive range to her small, yet wonderful, role. All characters are costumed (Carmen Olmedo) in starkly realistic accordance with their personalities.
Mathew Wright’s direction is spot-on, from beginning to end. There is a casual slyness to the scene transitions that lends pleasing rhythm to the production, and throughout the production, the story is told in a well-used space, smoothly and engagingly. The play is funny and well-performed, with loveable characters and a story to warm the heart.
Amy Herzog’s 4000 Miles, directed by Mathew Wright, runs at ArtsWest Playhouse and Gallery (4711 California Ave SW, 98116) from 1/22 to 2/15. For tickets, please visit artswest.org or call 206-938-0339