New York, New York – Six well-established playwrights.  Six short plays.  An ensemble of passionate young artists.  And our nation’s great financial disparity as a muse.  It all seemed pretty promising and enticing to me –  straightforward was my prediction.  But let’s just say things got…trippy.

The Great Recession, in previews now at the Flea Theater of Tribeca and opening on December 10^th, is an evening of short plays all centered around the current economic crisis – or at least that is how they were advertised.  In actuality, the production translates more as if each playwright were handed a card that said “recession” and told to go write a short piece.  I walked into the space and was met by a “host” in Joker-esque makeup working the crowd while a young woman sat alone on stage looking close to tears.  These characters from Adam Rapp’s piece entitled “Classic Kitchen Timer” opened the show with their presentation of this young, out-of-work woman who was being offered $25,000 to kill a baby.  Got it — a commentary on what people are being forced to do in times of economic trouble…but really?  I’ll hand it to them for keeping some absurdity and humor in the situation, but at times I wasn’t quite sure how serious we were meant to be taking the whole thing.  The performances, though, were flawless and committed, so clearly the actors knew what they were trying to do.

The entire company of actors took part in creating the scene changes between each play, arriving as characters from their own works, both those already seen and those yet to come.  It was at this point, having only seen the first play, preparing for the rest and watching all of the characters moving and shifting furniture and props, that I noticed the young man moving a sofa onstage…completely naked. And I do mean completely. Right, it is going to be one of those shows.

Next up we had Itmar Moses’s “Fucked” about a young couple supported by daddy’s trust fund…and headed toward a break up.  The duo was charming, and the dialogue was funny and quip-full.  From there, we were treated to a farcical piece by Thomas Bradshaw called “New York Living” about what he referred to as the two ever-present truths in New York: sex and real estate.  It was fun, and a joke on itself and on the artist involved.  It had nothing to do with the recession, though…and they made a joke on that as well.

“Severed,” by Erin Courtney, is a delightful boy-meets-girl encounter set in a lobby where the two characters are waiting to deliver their testimonials for a documentary on being young and broke in the current climate.  Talking heads in the background share interesting accounts of various trying situations while the young man and woman swap interests and dreams…and a little bit of lip action.  I liked this one for its down-to-earth honesty and simplicity.

Intermission.  The actors mill out into the audience, offer us food and beer, change the lighting equipment.  Luckily, naked guy opts to stay backstage.  I won’t go into the irony of their chosen food offering being pretzel rods.

Aaaaand we’re back.  To jar us out of the chill intermission vibe is Sheila Callaghan’s “Recess” – an apocalyptic piece with a handful of degenerates huddling in a dirty loft, battling each other for the extra “soy pup” and fighting off their own neuroses.  They referred to “The Crash” as if it had been the beginning of the downward spiral toward the end.  Not exactly the cheeriest of outlooks from this particular playwright.

We end with Will Eno’s “Unum” about…well…I’m not exactly sure.  It was a mash-up of story-lines, a confusion of commentaries, certainly humorous at times with some standout performances, but I can’t really tell you what it was “about.”

I have to applaud The Flea for stepping out in bravery with their work.  They are pushing boundaries, to be sure.  The works are innovative, interlacing movement and media at times, but perhaps a little too jagged.  I respect artists who are willing to take a chance, but I’ve never been a big fan of shock for the sake of shock value — I think it’s a cheap trick.  With The Great Recession, I was hoping to leave the theater contemplating my own position in the current economic state, being that I am a young post-graduate literally sitting in the thick of this “great crash.”  Instead, I saw some naked people, watched a woman contemplate murder, and heard some cute dialogue and funny anecdotes…but where was the oomph?  Where was the passion behind the work, driving the audience to commiserate in real emotion?  I felt that the group was on to something — the concept of the collection, the humility and power behind the ensemble, the access to talent — it was all there.  Somehow, though, things didn’t collide.  Perhaps I’m taking it all too seriously, or perhaps I’m not taking it seriously enough.  I’ll say that it is an experience, to be sure, and if the recession hasn’t hit you hard yet, you can lay down $25 and go check it out for yourself.

The Great Recession runs December 10th – December 30th. Schedule varies.  The Flea is located at 41 White Street between Church and Broadway, three blocks south of Canal, close to the ACE, NRQW, 6, JMZ and 1 subway lines. Tickets are $25 and are available by calling (212) 352-3101 or online at www.theflea.org.