Apologia

What happens when a person dedicates their whole life to social justice? What if a '60s flower child never gives up the idealism and keeps on fighting? Playwright Alexi Kaye Campbell examines some of the unintended consequences of that choice in his play "Apologia," now receiving its New York premiere from the Roundabout Theatre Company.

"Apologia" takes place in the home of Kristin Miller (Stockard Channing) in the English countryside. An aging radical, Kristin left America for a life in Europe when she was just 22, and has two grown sons in England. Already the author of many books, she has just published her memoir on this evening that her two sons are to be coming over for dinner for the first time in quite awhile.

Her eldest, Peter (Hugh Dancy), is a banker – to his mother's eternal disappointment. He has brought his girlfriend, Trudi (Talene Monahon), an American who we also discover is a Christian – two further disappointments for dear old mom. We learn that her younger son, Simon, has been troubled, and whether or not he will appear is uncertain. Simon's girlfriend, Claire (Megalyn Echikunwoke), a slightly pretentious soap actress, does show up, as does Hugh (John Tillinger), one of Kristin's longtime pals going back to their days protesting Vietnam.

It's obvious that Kristin is not an easy parent – she doesn't think anything of levelling insults at both of her sons' girlfriends and takes a generally condescending tone with just about everyone. Peter and Claire seem pretty used to this and put up with it for longer than most people would – until things get heated when conversation turns to a strange omission in Kristin's memoir: she never mentions her sons.

The possible regrets of a social justice warrior is an interesting topic, but it's hard to fully buy into playwright Campbell's conceit. While there is a lot of talk about Kristin being dedicated to her convictions, few good examples of her efforts are offered – in practice, it sounds more like she was just someone who had the luxury of traveling Europe and writing about art history all these years.

Although this is the New York debut of "Apologia," the play was originally produced in England in 2009 and is set in that year. No doubt Kristin's disappointment in her son's banking career felt more acute at that time, when the financial crisis and bank bailout were fresh. Since it now feels like a lifetime ago, that angle doesn't resonate as much.

"Apologia" was one of Campbell's first plays and it has the uncertain feel of a writer still finding his footing. Some of the dialogue can be annoying, as characters have a weird habit of repeating exactly what the other person just said, and character development is inconsistent or lacking in places (for instance, Claire can appear vacuous one second, and quite sharp another). The writing is at its very best when the characters are storytelling, as when Kristin explains to Trudi why the painter Giotto made such a vital impact on the lives of the people who first experienced his work.

The real strength of this play is in its exploration of the relationship between this unusual parent and her children. It is compelling to watch as secrets, resentments, and memories are revealed, and wonder if this reckoning will destroy these bonds or help to heal them.

"Apologia" runs through December 16 at the Laura Pels Theatre, 111 West 46th Street, NYC. For information or tickets, call 212-719-1300 or visit www.roundabouttheatre.org