Photo by Morgan Sophia Photography

J (Kimmie Harvey) and C (Abbie Fricke) appear in a scene from the world premiere production of two of us on the run at Theatre Lab.

By AARON KRAUSE

Steve McMahon’s promising new play, two of us on the run, is like a map that branches off into too many different directions. Indeed, even if you follow it closely, you may feel frustrated, lost, dizzy, or overwhelmed by the end.

Within two of us on the run (purposely lowercased) is a timely and timeless, if not entirely original or groundbreaking play. It centers on two lonely teenagers who are outsiders and dissatisfied with their lives. They hate the small town in which they live and wish to escape. And, so, they hit the road — without a plan as to where they will go or what they will do when they arrive.

The play, which is experiencing a strong world premiere production at Florida Atlantic University’s (FAU) Theatre Lab through Feb. 16, is a work in progress. In fact, so are many other new plays.

Under Margaret M. Ledford’s astute direction, Theatre Lab’s production stars Kimmie Harvey as J, Abbie Fricke as C, and Jordon Armstrong as a bartender. In addition, the production features strong behind the scenes work from artists such as scenic designer Aubrey Kestell, lighting designer Eric Nelson, costume designer Linda Shorrock, sound designer Matt Corey, and video designer Robert Goodrich.

Just as the characters could use a plan for their next steps, two of us on the run could benefit from reworking to gain more focus. Plays about a physical journey can also feature an emotional journey for the characters. Just as they move physically from Point A to Point B, they can grow and learn something by the time they reach their destination. Unfortunately, by the awkward ending of two us on the run, we do not sense that either character has learned anything.

Sometimes, though, it only takes a few tweaks to produce something much improved, or even great. Undoubtedly, two of us on the run is in a good place. Theatre Lab, the resident professional theater company at FAU, devotes itself exclusively to producing new work. Since its beginning in 2015, Theatre Lab has mounted 12 world premier productions. The company has won the Bill von Maurer Award for Theatrical Excellence and the Silver Palm Award for Outstanding Community Efforts.

Even with a running time of about 80 minutes (no intermission), two of us on the run could benefit from trimming. For instance, the characters echo each other. This might work once or twice, but after a while it can grow tiresome. In addition, the characters talk about many things without the playwright devoting much time to any one of the topics. From feminism and robbing banks to sexual orientation, drinking alcohol, the “Real” America, the teenage years, libraries, movies, deadly weapons, and class and gender politics, you can grow tired listening to them. Also, a blurring between reality and fantasy that occurs toward the end further muddles the piece.

For much of the play, McMahon refers to the characters only as J and C. Their shortened names could symbolize their desire to put their pasts behind them and start over.

The play tries to begin on a lighthearted note, but with so many deadly occurrences happening in this country in recent years, you may not laugh.

“This is how it works,” J says at the beginning, referring to running away from home.

“You kill your parents and hit the road,” C offers, perhaps trying to be darkly funny.

“Well, no,” J responds.

“You fake your death, steal someone’s identity, and hit the road.”

“Not really,” J answers.

Several references to pop culture follow, and you may find yourself nodding and chuckling at some of them. For example, do people preparing to run away watch the 1991 female buddy movie Thelma and Louis? What about Bonnie and Clyde, about real-life American outlaws who robbed banks, gas stations, and restaurants during the Great Depression?

Some of McMahon’s attempts at humor work better than others. For instance, the playwright shows a tendency to settle for easy laughs, such as when J remarks “We’re not in Starbucks anymore, Toto.” This line with a Wizard of Oz reference comes after C complains about the coffee she drinks at one point.

Parts of two of us on the run may remind you of other popular shows, such as Pippin. Specifically, you may recall that the titular character sings that he wants to find his “corner of the sky,” or his purpose. Similarly, in McMahon’s play, J proclaims, “I’m going to find my patch of heaven.”

We find ourselves hoping that C’s “patch of heaven” does not turn out to be robbing banks. Almost out of the blue, the teen asks at the beginning of one scene, “You ever robbed a bank? I’ll bet you never stole anything in your life. Do you want to know how to do it?”

“Not really,” you find yourself responding in your head, perhaps sarcastically.

Even so, C proceeds to give us a crash course on bank robbing. I am not sure exactly how this topic is relevant to this story. Somehow, though, it reminded me of Tom Sawyer wanting to start a band of robbers. Sometimes, kids think up and dream about strange things.

On a more serious note, you could argue that in two of us on the run, the characters’ references to violent acts are essentially desperate cries from aimless youth who seek attention, meaning, and purpose. They want society to hear them. Unfortunately, we have learned too many times what can happen when society ignores primal cries for help and attention from young people.

Despite its shortcomings, two of us on the run shows promise. For example, the playwright demonstrates a keen ear for the way teenagers speak. In addition, the play, at times, reflects the fear, concerns, and uncertainty that many of us feel these days.

Quality live theater can make us feel as though we are not alone, that others share our concerns and anxieties. This play accomplishes that. And audiences, young people especially, may be able to identify with J and C. Perhaps they might remind teenagers of their peers.

J and C are not particularly well-developed characters. But the actors bring them to vivid, believable life.

With dark hair, dark eyeliner, lipstick, and a tendency to act cynical and jaded, Harvey’s J comes across as a world-weary, eye-rolling teenager with little patience for the kind of optimism and bubbliness that C conveys. As a matter of fact, as different as J and C are from each other, it may be hard to believe that they have been best friends for years. Then again, opposites can attract.

While Harvey nails the demeanor of a cynical teenager, the performer also portrays her character with a convincing conviction and intensity. Truly, you never doubt the character’s sincerity as she pours her soul out. Rather, your heart goes out to her. This is a teenager displaying a confident, strong façade, but deep inside she is anxious and insecure. “We’re both just scared little girls,” C notes.

Speaking of C, Fricke imbues her with a naivete and bubbliness that contrasts markedly from Harvey’s J. Certainly, C’s charm and excitement can win you over.

More than once, Ledford’s direction positions C on the floor, kneeling and J sitting higher in a chair. This could symbolize that C looks up to J.

Just as Harvey believably conveys her character’s vulnerability, Fricke finds her character’s sensitivity. And Armstrong radiates charm as a bartender that the two girls meet.

The actors perform on Kestell’s simple set. Props which look like cut outs of a map dot parts of the scenic design. It also includes an overturned chair, a backpack, and boxes. In addition, yellow markings on the stage may suggest those you may find on a road.

In the lighting department, Nelson deftly varies intensity according to scene’s needs. Also, Shorrock outfits the characters in clothing that befit their personality, and Corey’s sound design helps ensure that we can understand the performers. Also, a picturesque effect toward the end suggests a starry sky at night.

Video designer Robert Goodrich and video programmer Steven Covey have included appropriate visuals to accompany the action. For instance, when the characters travel, we see videos of what resemble advertisements from convention and visitors bureaus.

two of us on the run experienced a week of development and its first public readings came during Theatre Lab’s 2023 Festival of New Plays. The play also was a semi-finalist for the O’Neill National Playwrights Conference and was long-listed for the Theatre 503 International Playwriting Award. Hopefully, the piece will improve and enjoy a long theatrical life.

IF YOU GO

WHAT: The world premiere production of Steve McMahon’s two of us on the run.

WHEN: Through Feb. 16. Performances are at 7:30 p.m. Thursday-Saturday and 3 p.m. Sunday.

WHERE: 777 Glades Road on Florida Atlantic University’s campus in Boca Raton.

TICKETS: $35-$45. Call (561) 297-6124 or visit https://www.fau.edu/artsandletters/theatrelab.