Theater: Lucille Lortel Theatre / 121 Christopher Street, New York, NY, 10014
Synopsis:
In Neil LaBute's newest play, David Duchovny stars as John Smith, a man who, amidst the chaos and horror of the worst office shooting in American history, sees the face of God. His modern-day revelation creates a maelstrom of disbelief among everyone he knows. A newcomer to faith, John urgently searches for a modern response to the age-old question: at what cost salvation?
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November 22, 2010: The road to salvation is flat and narrow in “The Break of Noon,” Neil LaBute’s single-tone study of a life after a near-death experience. In this new work from the prolific and undeniably talented Mr. LaBute, which opened on Monday at the Lucille Lortel Theater, the sole survivor of an office massacre (played by David Duchovny) hears the voice of God amid the carnage.
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November 22, 2010: In the opening of "The Break of Noon," David Duchovny's character sits in shock, his shoulders wrapped in a blanket, sharing his first-hand account of the massacre of his entire fleet of office co-workers by a crazed gunman.
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November 22, 2010: In "The Break of Noon," David Duchovny plays a low-level executive who, through divine intervention, survives an office massacre. If only the "Californication" star were so lucky.
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November 22, 2010: If anyone should be able to sell us a story about a man who heard the voice of God in the midst of a midday workplace massacre, it should be David Duchovny. For nine seasons on The X-Files, the sloe-eyed actor made legions of TV viewers believe in aliens, paranormal activity, and other unseen phenomena. We want to believe! But there's no buying The Break of Noon, provocative playwright Neil LaBute's first full-on religious experience.
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November 22, 2010: David Duchovny and Amanda Peet (Photo: Joan Marcus ) The press release for Neil LaBute's seventh collaboration with MCC Theater as Playwright-in-Residence describes The Break of Noon as the story of a man who attributes his being the lone survivor of a horrendous office shooting to having God speak to him. That tap on the shoulders from above, along with a photo of one of the thirty-seven victims, throws the media spotlight on an Everyman, aptly named John Smith, But skepticism about the validity of John's newfound faith, prevails among those who know him — as it will for theater goers familiar with LaBute's brand of brutally realistic morality plays.
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