Cult of Love

By: Darryl Reilly

Who is Leslye Headland, and why is her stale, dysfunctional family drama, Cult of Love, her Broadway debut as a playwright? The Maryland-born, 44-year-old Ms. Headland graduated from New York University’s Tisch School of the Arts, having attended the Playwrights Horizons Theater School. Headland then worked for six years at Miramax Pictures, including as an assistant to Harvey Weinstein. Following this apprenticeship, she began a career in film and television, notably as a co-creator of Netflix’s Russian Doll. She also became a produced playwright, Cult of Love was first performed in 2018, and is part of a cycle of autobiographical works inspired by her Christian upbringing. One of New York City’s preeminent not-for-profit theater companies, Second Stage Theater is now presenting it at their Broadway venue, with a mostly name cast. Everything connects…

It is Christmas Eve, at the upper middle class Dahl family’s Connecticut farmhouse. The aged father is beset with early Alzheimer’s, the mother is a steely tyrant who veers from benevolent to Machiavellian. The couple both came from troubled backgrounds and remade themselves by turning to extreme Christianity, raising their four now grown children under strict religiosity. One son is a recovering heroin addict, the other is a mentally fraying lawyer who studied for the priesthood. One daughter is a gay superstar chef married to a woman, the other is a mentally unstable pregnant mother who speaks in toungues. The last three characters, and their spouses, and a young woman the substance abuser son is sponsoring in recovery, all converge to reconnect for this ritualistic family gathering. Earlier, there was the obvious Waiting for Godot-type device of the festivities being stalled by the late arrival of one of the children.

Of course, we are in for combativeness, revelations and resentments. Other than the novelty of the ultra-Christian themed milieu, there is not much fresh about this bickering family at the holidays tale. There are periodic, eerie and tantalizing musical sequences where the characters play guitar and sing Christian songs. The plot point of the pregnant daughter and her fired Episcopal priest husband taking refuge in her family’s house as they start a new church, with her as the prophetic leader, who Jesus is speaking through, hint at some sort of surprise metaphysical finale, it doesn’t happen. Instead, after being teased with flourishes reminiscent of Ira Levin’s horror novels and Edward Albee’s existential drama, A Delicate Balance, Cult of Love sputters out as a straightforward, pretentious gabfest. It is typical of plays designed to appeal to well-heeled subscription-based theater audiences who seek to be delighted by seeing something “important” and relatable. Indeed, Headland’s often jokey dialogue had the audience at the performance under review chronically laughing effusively.

The eternally captivating Mare Winningham’s winning characterization of the wily matriarch is grandly chilly and often mesmerizing. The always commanding David Rasche brings A.R. Gurney-style WASP verve to his portrayal of the mentally deteriorating patriarch. Mr. Rasche’s distinctively resonant voice and noble bearing totally evoke this figure. Rasche and Ms. Winningham’s sparkling performances are the saving graces of this farrago. The rest of the cast credibly do their best with their trite roles.

Zachary Quinto’s familiar, and quavery vocal tones and animated presence, are well utilized during his turn as the contemplative lawyer son. Molly Bernard is fierce, yet measured as his embittered, estranged Jewish wife who converted to Christianity. Shailene Woodley is in Agnes of God-style cuckoo overdrive as the religious zealot pregnant daughter; she must be restrained from creepily punching herself in the stomach. Cheery Christopher Lowell is menacingly nerdy as her priest husband. Sunny Rebecca Henderson is suitably feisty as the gay chef daughter. Soulful Roberta Colindrez is moving, tender and solid as her wife. Magnetic Christopher Sears lays on the charm as the loquacious, black sheep son. Bubbly Barbie Ferreira is comically appealing as his opioid-addicted protégé.

Director Trip Cullman’s physical staging is crisp and energetic; he also has the cast play to the hilt, verbal and physical fireworks abound. Mr. Cullman vigorously compensates for the play’s deficiencies with high caliber theatrical polish. Scenic designer John Lee Beatty’s cavernous dwelling set is richly detailed and wonderous to view; it is a major feature of the production. Heather Gilbert’s lighting design and Darron L West’s sound desig, are each technically adept and suitably moody. Costume designer Sophia Choi vivid garments realizes the characters with idiosyncratic authenticity.

Marked by flashiness and superficiality, Cult of Love could be a stimulating time at the theater, depending on one’s taste and sensibility.

Cult of Love (through February 2, 2025)
Second Stage Theater
Hayes Theater, 240 West 44th Street, in Manhattan
For tickets, visit www.2st.com
Running time: one hour and 45 minutes with no intermission