Choosing AA over rehab, he embarks on a life of sobriety and spiritual enlightenment. It’s Michael’s drinking that’s the problem. Michael angrily confronts his boss Mark (Peter McCabe) only to be told that race has nothing to do with it. That would explain why Michael, despite his work ethic and achievements, has not been made a partner. Moreover, Michael’s new girlfriend Sarah (Susannah Flood), who also works at the law practice, is convinced that the company’s leadership is racist. His cantankerous upstairs neighbor (Jeff Biehl), a stay-at-home dad, lets his kid make noise at all hours of the night. Before he can start enjoying his success, though, doubts begin to creep into Michael’s mind. He’s just bought a luxury apartment and draws a high salary as an associate in a high-powered law firm. Michael (Gbenga Akinnagbe) is moving up in the world.
#SUSANNAH FLOOD NOVEMBER 2019 FULL#
His eccentric, provocative style is still in full flower, but this time the play’s macabre tone and biting ironies are given added impact by the leanness of its structure and the appeal of its sincere but self-destructive protagonist. But FULFILLMENT also represents something of a departure for off- Broadway’s new enfant terrible. There are other Bradshaw trademarks here, like nudity and sex (some of it a tad kinky), and a violent climax. Typical of Thomas Bradshaw, these images turn social stereotypes upside down, only to spin them again into new patterns. The violent thug in the hoodie is a White guy. The two guys rocking out to an old Neil Young song are Black men.