The Eaten Heart
Written by Hannah Bos & Paul Thureen
Directed by Oliver Butler
The Ontological Hysteric Theater
131 East 10th Street
212-352-3101

Review by Sean Michael O’Donnell

The Debate Society has carved out a respectable niche for itself in the very crowded world of off-off-Broadway, earning much-deserved critical acclaim along the way. Its latest offering, The Eaten Heart, is the second in a proposed trilogy of new plays based on stories originating from the Black Plague. Heart modernizes Giovanni Boccaccio’s 14th century opus “The Decameron,” setting the anthology in the anonymous refuge of a roadside motel. Written by the multi-talented Hannah Bos and Paul Thureen, and flawlessly directed by Oliver Butler, the play is a well-crafted theatrical experiment — awesome in scope and bold in execution.

The story weaves together the lives of multiple characters: A preacher’s wife contemplates an extramarital affair. A husband plots revenge against his cheating wife and best friend. A doomed magician unknowingly masters his craft. A mysterious woman carries on an unhealthy relationship with a potted plant. A pot-smoking drifter crosses paths with an invisible man. Ultimately, the numerous plots collide in what is a very dark comedy populated by sadness and quiet desperation.

Hungry? Hannah Bos and Paul Thureen play over a dozen characters between them in The Eaten Heart, inspired by Giovanni Boccaccio’s 14 century opus, “The Decameron.”

A play of such complexity would defeat a lesser director, but Oliver Butler thrives under the weight of the story’s many demands. Piece by piece, he crafts an extraordinary theatrical experience, creatively staging each moment to produce a living and constantly changing triptych. Butler’s innovative direction is further enhanced by an outstanding design team, most notably set designer Amanda Rehbein and lighting designer Mike Riggs. Rehbein perfectly captures the anonymity and interchangeability of a cheap motel room while Riggs uses minimal light to maximum effect to compliment the play’s odd dimensions and mysterious tone.

Bos and Thureen’s dialogue crackles with clever witticisms and startling honesty. They unearth the true dark side of humanity, subtly revealing the unspoken despair of everyday life by exposing its innate humor. Yet as good as their writing is, Bos and Thureen prove themselves even more accomplished as actors. Portraying over a dozen characters between them, the talented duo delivers one great performance after another as they effortlessly capture the pathos and complexity of human nature. Bos, Thureen and Butler (the theatrical triumvirate that is The Debate Society) don’t merely put on a play, they create an experience. The result is, quite simply, great theater.