Wildly relevant and bitingly funny, Jonathan Spector’s play comes to MTC in an all-new production following an acclaimed London run. Eureka Day is a private California elementary school with a Board of Directors that values inclusion above all else – that is, until an outbreak of the mumps forces everyone in the community to reconsider the school’s liberal vaccine policy. As cases rise, the board realizes with horror that they’ve got to do what they swore they never would: make a choice that won’t please absolutely everybody.
Jonathan Spector’s 2018 comedy Eureka Day mostly loses in its bright and bubbly Broadway premiere. The first monster it encounters is thematic. As with last season’s The Thanksgiving Play, which mocked a well-meaning elementary school drama teacher’s attempt to mount an even-handed history of the holiday, there are only so many laughs you can wring out of liberal cluelessness. Here, it’s the board members of a bougie California day school when faced with a mumps outbreak among its students. They’re the sort of people for whom things like “holding space” and “feeling seen” are paralyzing conundrums instead of useful frameworks in the fight for equity. The jokes at their expense start off strong but lose steam quickly, despite strong performances from a cast including Jessica Hecht and Thomas Middleditch.
Hecht and Gray are excellent here and throughout, as is Shapiro’s whole company. They’re not clowning — though there’s a delightful wink of a moment in which Irwin’s Don waxes misty-eyed over the “actually quite subtle” mime work of a former colleague. Rather, they’re performing that crucial aspect of theater, its function as a space of civic practice, quite literally a place where we rehearse the hardest conversations, where we experiment with how to put together a community. In his script’s epigraph, Spector quotes from Eula Bliss’s On Immunity, where Bliss herself cites a doctor who describes a certain vaccine as “important … from a public health standpoint” but “not as critical from an individual point of view.” “In order for this to make sense,” writes Bliss, “one must believe that individuals are not part of the public.” It’s this cognitive dissonance, so widespread and so clamorous and so tragically American, that theater, by its very nature, is always addressing, and in Eureka Day that essential refutation takes on explicit and eloquent form.
2024 | Broadway |
MTC Original Broadway Production Broadway |
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