"The Submission"

The premise of “The Submission” is promising yet somewhat predictable. It's a story about a young, gay, white playwright, Danny Larsen (Jonathan Groff), who writes a wonderful play about a black mother and her sons. When a prestigious theater festival accepts it for production, Danny fears the work won’t be taken seriously unless the playwright is credible. So he makes up a name for his playwright, Shaleeha G'ntamobi, and hires a black woman to play the part.

Emilie (Rutina Wesley), an out-of-work actress, accepts the role despite some misgivings.

Although Trevor (Will Rogers), Danny’s college friend and Pete (Eddie Kaye Thomas), Danny's lover, agree that the decision to hire Emilie will end badly, Danny moves ahead. Immediately, Emilie gets swept up in the beauty of the play and the excitement of acting and decides to reveal Danny as the real playwright after the premiere.

The big question in the play is not who owns the production, or even who owns the minority experience, but rather, how deep is our prejudice?

Groff (“Spring Awakening,” “Glee”) is affable, gentle and almost innocent at first. Later, when his true persona emerges, he shows passion, anger and finally, self-recognition.

Wesley (“True Blood”) enters quietly, showing only a little of the sass that marks her TV persona, but midway, she becomes a strong, self-actualized woman. She is feisty and certainly holds her own as the sole woman on stage. In one scene, she and her current boyfriend Trevor flirt on the phone and, though clad in a full-length slip, she manages to imbue enough sexuality for the audience to understand Trevor's excitement.

The dialogue moves well as characters interrupt and talk over one another, so it feels like the audience is eavesdropping. There's a natural everyday flow to their conversations.

The relationship between Danny and Emilie begins as a pleasant work arrangement, yet Danny naively notes that afterward he hopes she can join their social crowd to provide some diversity. Race is always the 800-pound gorilla in the room. Sometimes it's announced; other times it's subtle.

The play flows beautifully and builds to an explosive moment, leaving the audience in a hushed silence. “The Submission” should have ended right there. Yet the playwright continues the dialogue somewhat unnecessarily for perhaps another ten minutes, weakening the power of the play. Danny forcefully resists when the director and dramaturge seek to edit his play. I wonder if actor-turned playwright Talbott felt the same way and that’s why he didn’t end this otherwise excellent play sooner.

“The Submission” is running now through Oct. 22 at the MCC Theater at the Lucille Lortel Theatre in New York, N.Y. Tickets range from $65 to $95. Call (212) 727-7722 for more information or visit www.mcctheater.org.