The family looks on with disbelief after Franz (Tony Larkin) returns from swimming in the lake in GableStage's "Appropriate." (Photo by Magnus Stark)
Unquestionably, 2025 is an appropriate time to stage one of gifted, fearless, and provocative playwright Branden Jacobs-Jenkins’ scorching, darkly funny masterpieces. Its apt title is “Appropriate.” And, truly, regional theater company GableStage has mounted a fine professional Miami premiere production.
This production comes almost straight from Broadway, fresh off receiving three Tony Awards last June and closing only six months ago. Kudos to GableStage Producing Artistic Director Bari Newport for securing the rights to the piece so soon after the show’s Broadway run.
Undoubtedly, acting does not get much better than this. Indeed, a group of gifted performers are giving jaw-droppingly naturalistic, nuanced, and depth-filled performances through Sunday, Feb. 23. The show runs about three hours with a 15-minute intermission at GableStage’s intimate theater space next to the Biltmore Hotel in Coral Gables. However, you become so engrossed in the explosive action that you forget about the time.
Rachael (Suzanne Ankrum) has a thought while her son, Ainsley (Lorenzo Garcia) is in his own world. (Photo by Magnus Stark)
Under Newport’s sharp direction and smart staging, the combative Lafayette family in southeast Arkansas comes vividly alive in all their toxicity. That is particularly the case with eldest sibling, Toni (a riveting Rachel Burttram). She shines in this production. It also features first-rate actors Mark H. Dold, Suzanne Ankrum, Cecile Etzbach, Lorenzo Garcia, Brando Lafleur, Tony Larkin, and Natalie Donahue McMahon.
The behind-the-scenes work is also strong. That is particularly true for Sean McGinley’s evocative sound design, Jamie Godwin’s vivid projection design, and Tony Galaska’s sometimes eerie, sometimes intense, realistic lighting.
“Appropriate” plunges us into deep reflection about themes such as race, legacy, family dynamics, forgiveness, and the ability of the past, particularly our country’s racial past, to haunt us. In addition, after experiencing “Appropriate,” you will likely ponder the different meanings of the word “Appropriate” and how that title is fitting for Jenkins’ play. For instance, is it appropriate to expose children to a disturbing past? What if that past is part of their family’s history? How do you find the right balance between educating them and protecting them from potentially harmful material?
Regardless of your age, chances are some scenes will make you uncomfortable. Contrastingly, others are more serene and even healing. Expect dark humor, well-developed characters, rich symbolism, fierce conflict, vivid writing, and shocking revelations. True, the characters are unlikable. However, to his credit, Jenkins also lets us witness their humanity.
The setting is the present at a decaying plantation house. It is summer and the cicadas outside the plantation are singing. The Lafayette family has returned to their late patriarch’s home to deal with the remains of his estate. In particular, the clan has planned an estate sale and auction. As family members unpack and organize their father's physical belongings, they also uncover old hostilities and tensions.
Toni, the confrontational eldest daughter, hopes that the family will spend the weekend remembering and reconnecting over their beloved father. Bo (Dold), her brother, wants to recoup some of the funds he spent caring for his father at the end of his life. The action takes a turn when the clan’s estranged brother, Franz (Larkin) appears late one night and mysterious objects surface. Suddenly, secrets and buried resentments can remain hidden no longer -- and the Lafayette family must face the ghosts of their past.
Rachel Burttram plays oldest sibling Toni who is meeting with her siblings after the death of her father at his Southern plantation home in GableStage's "Appropriate." (Photo by Magnus Stark)
At first glance, Toni seems like a hard character to care about. Indeed, she is belligerent, and just plain nasty. And, in a bravura performance, Burttram oozes venom. Her impulsive Toni is in perpetual motion, shaking her head, gesturing with her arms, speaking quickly and sharply, and leaning forward aggressively. She is like a wild animal ready to pounce. Compared to her, everybody else seems like calm peacekeepers ready to join hands and sing “Kumbaya.” But Burttram also finds her character’s vulnerability and humanity. This is particularly true during scenes with Toni’s son, Rhys (a quietly sincere Lafleur). Also, we learn that Toni suffered some hard knocks before the play’s action begins. So, while we do not necessarily condone Toni's harshness, we can understand why she may act that way.
Dold, whom GableStage audiences might remember from his captivating performance in last season’s “The Lehman Trilogy,” delivers a winning performance in “Appropriate” as well. In particular, Dold imbues Bo with a believable earnestness that suggests he is a hard-working family man who wants best for his wife and children. But Dold also projects a weariness that seems fitting for a man who has gone through a rough patch and no longer wishes to fight with others. But he can still lose his temper if you push him too far. Dold’s strongest moment as Bo comes toward the end. That is when his character breaks down sobbing. To watch this man bend over, his voice breaking and tears spilling, is painful. In fact, your heart goes out to him and you want to comfort him.
Brother and sister Bo (Mark H. Dold) and Toni (Rachel Burttram) go at each other. (Photo by Magnus Stark)
As Bo’s wife, Rachael, Ankrum can be believably pleasant but can also grow credibly heated, especially when facing off against Toni. Ankrum’s Rachael is also convincingly strict with her youngest son, an active 8-year-old named Ainsley (an energetic Garcia, a Miami-based child actor). Speaking of Ainsley, he never talks during the show. However, all eyes are on the boy during one pivotal scene that we will not spoil.
With impressive naturalism, Etzbach, also a local and professional child performer, portrays Ainsley’s young sister, Cassidy. Etzbach portrays her with the right mix of awkwardness, confusion, curiosity, and disappointment. In particular, you sense her frustration when she repeatedly claims that she is almost an adult and therefore old enough to view graphic photos. Besides, she claims she sees worse things on the Internet.
Larkin is believably repentant and earnest as Franz, the black sheep of the family. Franz has made mistakes, but he claims he is ready to apologize and start over. And, as Larkin sincerely portrays the character, we believe him. The actor shines particularly during one scene. He has just returned from swimming in a nearby body of water, and he sounds and looks as free and happy as a child in a toy store.
Tony Larkin as Frank/Franz and Natalie Donahue McMahon as his girlfriend, River. (Photo by Magnus Stark)
While Burttram’s Toni is combative, McMahon injects River, Franz’s young girlfriend, with a serene demeanor. She is a voice of reason and calm, like a yoga teacher whose goal is to help others relax and stay healthy. As Franz reads his apology to the family from prepared written remarks, McMahon’s River listens intently, her face betraying an encouraging expression. In fact, all of the performers seem to intently listen when others are speaking. They are strong as an ensemble, and as individual characters.
The house, designed to look old and run down with plenty of clutter by scenic designer Frank J. Oliva, is also a character in the play. In fact, could the decaying plantation house symbolize our country falling apart under the weight of hate, lies, division, violence, and ineptitude? It is easy to reach that conclusion, especially toward the end.
The symbolic cicadas are also characters to an extent. The insects’ grating noise builds in intensity following some scenes, reinforcing the play’s harshness. McGinley’s sound design includes noises that sound like real-life cicadas. When they are at their loudest, we also see what resembles thin tree branches or perhaps even veins as part of Godwin’s projection design. Green, eerie lighting by Galaska completes the horrific effect.
A tense moment occurs between Cassidy (Cecile Etzbach) and Rhys (Brando Lafleur).
Also, costume designer Lorena Lopez has outfitted the performers in clothes that enhance their individuality.
Other contributors to the production include fight choreographer Lee Soroko, who helps make a physically intense scene seem real. Also, intimacy choreographer Nicole Perry helps bring believability to scenes that involve physical closeness between characters. And GableStage’s resident dramaturg, Ali Tallman, has included potentially helpful information for audiences in the program.
Hopefully, more regional productions of “Appropriate” will follow GableStage’s mounting. This is a timely, urgent play by a playwright whose provocative work tends to explore identity, race, and family history, complete with bold imagery and language. Certainly, Jenkins is a playwright to watch – and GableStage is a theater company that continues to amaze with timely, thought-provoking productions.
IF YOU GO
WHAT: "Appropriate."
WHEN: Through Sunday, Feb. 23.
WHERE: GableStage, 1200 Anastasia Ave. in Coral Gables.
TICKETS: $40 and $50, all with additional $10 service fee (discounts for students, teachers, artists, military and groups).
INFORMATION: 305-445-1119 or gablestage.org
