IAMA Theatre’s “Foursome” is a Pure, Theatrical Celebration
The magnificent ensemble cast of Matthew Scott Montgomery's queer Millennial masterpiece, Foursome, now playing at IAMA Theatre in Los Angeles.
There's much to label “refreshing” in Matthew Scott Montgomery 's new play, Foursome, which is enjoying a world premiere run at the IAMA Theatre in Los Angeles (get you tickets now, folks). Perhaps it's the exceptionally well-written script, or that it's one of the best directed and acted plays seen recently in Los Angeles, which is also certainly arguable. Foursome revolves around four gay Millennial male and genderqueer characters, and what proves to be the most refreshing aspect of all in this joyous and passionate new work, is that the world of this play, its characters and all the evenings preceding’s, are heavily fueled by honesty and not stereotype. What also stuck out as undeniable for this theatergoer, was that, as I left the theater, I realized that there was not a political bone in this play's body, not a tinge of current affairs or social media fear-mongering or other emotionally hemorrhaging distractions. Through circumstance, personal merit and error alone, all four characters, brilliantly crafted by this magnificent playwright, are about as real, honest, and absolutely endearing as one could wish for. In short, Foursome finds immeasurable joy in the art of simply “being.”
Noah (Matthew Scott Montgomery), along with his current partner, Felix (Jimin Moon) have planned a trip to “Cabin 94” their favorite get-away, on New Years Eve. Joining them for this traditional romp are Kobe (Calvin Seabrooks) and to everyone’s surprise, Kobe’s current squeeze, Tahj (Adrián Javier). Tahj, who was shooting a Vampire film, is somehow present, avec tequila, to complete this band of merry celebrants. With the clever and funny pre-show recording stating, “what happens in Cabin 94, stays in Cabin 94,” this “foursome” are free to frolic without a care in the world, as their realities are being watched over by neighbor Denise, because “what would gays do without lesbians?” As the complex details of this highly entertaining crew immerge, there’s so much more to these friends than meets the eye. Noah, whose nickname is “Yessah” after a few shots of Clase Azul, is this play’s Everyman. Noah is an over-thinker, with a penchant for type-A cleanliness and order, and is madly in love with non-binary Felix but used to date smokin’ hot wanna-be celebrity Tahj. In a distant past, Tahj broke Noah’s heart, but in the world of this play, he’s about to break Kobe’s as well. When Noah’s marriage proposal to Felix falls flat, that’s when the fur begins to fly and sparks ignite from one hilarious gut-punching scenario into another, all to the soundtrack of Demi Lovato. Trust me when I say that you’ll never think of the timer feature on your phone the same, ever again.
Montgomery’s masterful script relies on human compassion and resilience but is ignited by well-structured complications and a complex set of relationships that demand honesty from its well-honed characters. The result is a well-wrapped dramatic package, but, when the gift wrap starts to peel, the confection within is pure human joy. Just when these four men think they’ve got what they want, there’s honesty and truth trapped there with them in Cabin 94, which acts as an escape room of sorts, but the variety of cabin fever present in Foursome is much more Midsummer Night’s Dream than The Shining.
Montgomery’s people-pleasing, hyper aware and vastly endearing Noah needs to be experienced. Like the rest of these stunning performances, he is 100% present, but to himself, his erratic and frenetic focus, or lack thereof, rests on what everyone else wants, which proves his most honest downfall. Jimin Moon’s Felix is twink-a-licious to a fault, but don’t write them off and vapid or common, because under their quiet, sweet demeanor is a whirlwind of honest emotion and truth. Felix is an undeniable case of “you never know what someone else is going through” and their need for freedom is a gut-punch of a different variety. Adrián Javier as Tahj has the most to unwrap in a performance that is brimming with conflict, and if this play is lacking shade, it’s certainly not because of Javier’s complex performance. Sometimes shade is the only thing a man whose wall is crumbling has ownership to hide behind. This leaves us with Kobe, this play’s sentinel and seminal temperate powerhouse. Kobe is the adult in this group and Calvin Seabrooks’ performance is palpable and adroitly grounded. Two things are undeniable about Foursome, first it leaves a refreshing queer-brand on family and marriage, and it doesn’t apologize for it. Secondly, as Tahj states toward the end of this quick-paced 90-minute one act, “I was giving lead player when it was calling for ensemble.” Foursome, beautifully and meticulously directed by Tom Detrinis, is one of the finest ensemble works you will currently see on a Los Angeles stage.***
Rounding out this stellar production is an exceptional co-sound design by Andre Allmond and Jeff Gardner and and warm and inviting set design by Nicholas Ponting.
You’ve been warned: the joy and comedy of Foursome is highly contagious. There's such an energy in the room, felt by all; gay, straight, or otherwise, that makes you want to jump onto the stage and join this foursome in their absolute celebration of life and all its foibles, mistakes, and inherent forgiveness. If you’ve developed a bad case of the 21st Century blues, Foursome is a guaranteed cure for what ails you.
***Please note that I saw the show twice. I got to experience Andre Heimos as Kobe the second time, and his performance was also exceptional and well-grounded, if not leaning a bit more nurturing. You’re in good hands with this IAMA Theatre standout production, so your excuses for not seeing this show have run out. Foursome is not to be missed, it plays through March 23rd at IAMA Theatre, 3269 Casitas Ave., Los Angeles.