Broadway has been playing it safe the last few years. Revivals are plentiful but when it comes to new plays that actually have something to say, sure we get the occasional Purpose or Prayer for the French Republic or John Proctor is the Villain, but for the most part, sanitized and careful have invaded the stages along the Great White Way. And relevant and vital comedies are even fewer.
Then along comes David Lindsay-Abaire’s clever, stinging, timely new play, The Balusters. It is the kind of work I crave in a comedy– insightful, entertaining, uproariously funny, perspicaciously comments on our time and stays with you long after the curtain comes down.
And this Manhattan Theatre Club production is cast to perfection. Seriously, with a bow to Becky Shaw, it’s the best ensemble of the 2025-26 season. And, for certain, the best new play!
Sure, I’m being overly effusive, but it’s been a frustrating season, so I was gobsmacked in the most potent way by this gem. Its run is ending in less than a month and that’s a damn shame because it should play for years—give us a revolving cast, if necessary. I can only imagine great actors would be lining up to want to sink their teeth into these 10 meaty roles. It’s a 10-actor piece! Kudos to MTC for producing plays with large casts! And one of the miracles Lindsay-Abaire achieves is in giving each actor a chance to shine. These are all three-dimensional characters who have an essential purpose and place in the story.
The Balusters takes place in Vernon Point. The author describes it as, “ a tree-lined, landmarked enclave of an East Coast city. The neighborhood, with it’s front lawns, large Victorian houses and expansive porches, has the vibe of a wealthy suburb, but if you walk a few blocks, just beyond the boundaries of the historic district, you’ll find apartment buildings, discount stores and housing projects.” This is all quite significant to the sequence of events that will unfold. In terms of the place, think Wisteria Lane—where everyone is up in everyone’s business—only with a richer and whiter history. Ironically, a Desperate Housewives actor is actually featured in the play.
Lights come up on a nicely furnished front parlor of the Victorian home of a well-to-do African-American woman, Kyra Marshall (a wonderful Anika Noni Rose), who is hosting a Neighborhood Association meeting. Kyra is new to the area but eager to take part in the group. She has her own important agenda involving a busy intersection outside her home where there should be a stop sign. As each member arrives, we become privy to the kind of social maneuverings and politicking that goes on.
Krya’s Asian-American pal, Melissa (Jeena Yi) got her the spot in the association in hopes that Kyra would shake things up. And that is her intent, even if she denies it.
The charming elder Elliot Emerson (Richard Thomas) is the association’s manipulative president who sees himself as its protector. He also happens to be a realtor who has sold most of the homes in the area. Elliot is opposed to putting up stop signs, seemingly for aesthetic reasons—but he has his own agenda. Many block members are devoted to Elliot and, even if they disagree, still side with him.
Ruth (Margaret Colin), 70s, arrives wearing a rabbit fur jacket and refuses to take it off until uber-liberal, woke Willow (Kayli Carter), 30s, arrives–just because she knows it will annoy her. Ruth reminded me of the Lauren Bacall character in Murder on the Orient Express—abrasive, assertive and fun as fuck!
Brooks (Hacks co-star Carl Clemons-Hopkins, just fab) is a snarky, gay African-American travel writer who is new-ish to the neighborhood, along with his husband. And there might be things Brooks doesn’t know about his spouse.
Isaac (Desperate Housewives’ Ricardo Chavira), leans conservative and lives in a small home in the area. He’s a Latino (don’t call him Latinx!) with his own construction crew.
The oldest of the gang is sweet-natured Penny (Marylouise Burke) who almost everyone adores. Penny confuses Melissa with the other Melissa in the neighborhood, a Pakistani-lesbian.
The lone middle-aged white man, timid Alan (Michael Esper), is constantly trying to prove to the group that he’s liberal and hip to the changing culture, but Willow keeps calling him out on all the ways he’s not. He’s also never allowed to finish his thoughts.
Rounding out the gaggle is Luz (Maria-Christina Oliveras), Kyra’s Filipino housekeeper who used to work for Elliot, but no longer does. Hmmm.
I won’t give away the plot or quote from the dense and witty script. I don’t want to spoil the many remarkable moments or the wonderful twists and turns the story takes. I won’t even mention the relevance of the title. Go, strap in and let it all wash over you.
While Thomas and Burke received deserved Tony nominations for their terrific work, everyone merits accolades and applause! I was particularly impressed with Colin who has a genius way with a cutting line delivery that never feels fake and always lands brilliantly. But she also manages to unearth the many complexities of her character.
Kenny Leon’s spot-on direction keeps things moving along nicely and allows time and space for the audience to enjoy each beat.
Lindsay-Abaire’s economic writing is to be commended as is his ability to satirize so much of what is wrong with politics on both sides of the spectrum today. He indicts each and every one of his characters but enlists empathy for all of them as well. It’s not an easy feat to successfully navigate and there was a questionable plot twist near the end that had me worried, but he pulled it off. And his work doesn’t play it safe, quite the contrary, it shines a light on all the ugly prejudices and arrogant ambitions of these people and, in doing so, asks the audience to examine where they land in this mix.
At the performance I attended, audience reactions to certain lines and reveals were fascinating. Some needed to know it was appropriate to laugh at certain things, so they were more tentative. Others got lost in the sheer hilarity of the more outrageous spewings. No one wanted to appear insensitive. But The Balusters is a plea to cut past the bullshit of appearance and concern over sensitivity and get to tackling the important and vital issues we are facing today. Together. If at all possible.
The Balusters is playing at Manhattan Theatre Club’s Samuel J. Friedman Theatre (261 West 47th Street) through June 7. 2026.
NOTE: Since this writing The Balusters has been extended through June 21 at the Samuel J. Friedman Theatre.
For Tix: THE BALUSTERS
