(L to R) Kimberly Gilbert as Toni, Dina Thomas as Rachael, Cody Nickell as Bo. Photo by Teresa Castracane Photography.
Branden Jacobs-Jenkins’ “Appropriate” is in some ways as American as apple pie. Americans, unlike say the British, show their angst. Whether it is Williams’ Stanley Kowalski or Miller’s Willie Loman, family members don’t keep stiff upper lips when upset. They yell, scream, and, sometimes, even brawl. Now playing at Olney Theatre Center, “Appropriate” won both an Obie and a Tony for Best Play and Best Revival.
…it is Loewith’s unflinching direction that brings this production to life and reaches into our hearts and minds to find meaning in our own families—and our nation.
American drama also deals with family histories and roots. We are more obsessed with who we are and where we came from, probably due to our much shorter history as a nation than most. We also are a nation with a past many citizens would like to forget—a history of slavery, genocide, and hate. No matter how much we want to bury it or ignore it, sometimes it pops up just when we thought it was forgotten. Sadly, prejudice and “othering” has come to the forefront in today’s current events.
Under Jason Loewith’s direction, the play comes alive as the Lafayettes, a family with White Southern roots, come back to their family’s plantation home after the death of their father. The home is in disrepair and filled with collections of family heirlooms, but also with a great deal of worthless junk.
The play opens with Franz (Jamie Smithson) and River (Brigid Wallace Harper) climbing through the window because the door is locked. Franz is the youngest of the family and River is his much younger, new age fiancé. They find Rhys (Cole Alex Edelstein), the son of Toni (Kimberly Gilbert) and the eldest sibling. Last to arrive are Rachael (Dina Thomas) and Bo (Cody Nickell), the middle child, with their children, young teen Cassidy (Ruby Spencer, alternating with Kirsten Cocks ) and pre-teen Ainsley (Bennett Johnstone, alternating with David Snyder).
As the plot unfolds, we find a very dysfunctional family. Franz, or as his siblings call him Frank, has been totally estranged from the family. He was not even told of his father’s death. Bo and Toni talk but are not close. Toni is recently divorced, and Rhys has had some major setbacks in his young life. Rachel has serious issues with Toni. Only the three children seem to get along at all with each other and only sometimes with the adults. At times, you may wonder who the children really are.
Gilbert’s performance is pivotal, baring Toni’s soul throughout the play. She is, at times, the protagonist and, at other times, the antagonist. All the daughters and sisters have a little bit of Toni in them. Harper reveals that River is not just a one-dimensional love child, but she can also be ruthless and cunning. Smithson captures the sometimes manic, sometimes childlike Franz. When he apologizes to his family for his indiscretions in the past, he leaves you wondering if he is sincere or just trying to please River.
Thomas’ Rachael is also complex. She is a symbol of those who really don’t fit into a White Southern society. She is a New York Jew and never sure if she is a part of this family. Nickell’s Bo seems to be the peacemaker, the middle child who often was out of the loop, and now, as an adult is happy with that role. He is trying to placate his sister and his wife and seems never seems to accomplish that.
Edelstein’s fine portrayal as the sullen Rhys—who has mommy-issues, as well as dealing with his parents’ divorce—always makes you believe he rather be anywhere else. Spencer’s Cassidy perfectly captures the 13-year-old, over-indulged New Yorker who thinks she is grown-up—and sometimes she actually is more adult than her parents. Johnstone’s Ainsley doesn’t really have any lines but does a fine job as a hyperactive boy.
The whole ensemble works so smoothly together that you find yourself siding with one sibling or another. That changes every scene as different aspects of each sibling are revealed. Since the play deals with family issues, there probably weren’t too many who did not think, in some ways, the Lafayettes resemble their own family. You come to realize that our roots, which we may try to forget, make us who we are, for better or worse. Most importantly, this play can be very funny and the humor helps makes the characters empathetic.
The set, brilliantly designed by Nadir Bey, puts the audience right into the middle of the living room of that home. The audience is drawn in, entering through a hallway decorated with a grass floor and flora from the South. Matthew M. Nielson’s sound design gives fair warning about what is to come with the sound of 13-year cicadas’ piercing the theatre to an almost unbearable crescendo. Max Doolittle’s lighting, especially in the final scene is mesmerizing. Danielle Preston’s costumes capture the essence of each character. A special nod goes to Casey Kaleba, Fight and Intimacy Choreographer, for the wonderful fight scene in Act II.
Without a doubt it is Loewith’s unflinching direction that brings this production to life and reaches into our hearts and minds to find meaning into our own families—and our nation. “Appropriate” has won both an Obie and a Tony for Best Play and Best Revival. This production has proven so popular it has been extended.
Running Time: Two hours and 45 minutes with one intermission.
Advisory: Strong language, sexual situations and depiction of violence as well as strobe lighting and smoke.
“Appropriate” runs through April 26, 2026 at Olney Theatre Center at the Mulitz-Gudelsky Theatre Lab, 2001 Olney-Sandy Spring Road, Olney, MD 20832. For more information and to purchase, For more information and to purchase tickets, call the Box Office at 301.924.3400, Wednesday – Saturday: 12 – 6 pm or go online.
