By Bart Greenberg***Two new plays opened recently Off- and Off Off-Broadway that have a great deal in common: Four Evangelists Walk Into a Fog and Mystic Conversations. Both focus on religious dogma v. open spirituality, both are extended one acts presented without intermissions, and both are well–acted, led by an 
incandescent female character. Neither work is without flaws, but both are intriguing enough to hope for further development.
Downtown at the Theater for the New City, Douglas Lackey’s Four Evangelists Walk Into a Fog explores a meeting between John (Matthew Foley), Luke (Nick Freedson), Matthew (Zephyr Caulfield) and Mark (John Gionis)—yes, the quartet whose “books” created the New Testament. No, this meeting never occurred and no, they never even met in real life, and yes, they all lived a century or so after Jesus was present on Earth. But this work posits their encounter in some mystic location where they argue, discuss, dispute and bond as they further the creation of a new religion.
Uptown at Theater Row, New Light Theater Project Spotlight Services is presenting Julia Barry Bell’s Mystic Conversations, a contemporary story. The Mom (Jenny Strasburg) (annoyingly, none of the characters are given names in the program) has her hands filled with a remote husband (Brandon Jones) devoted to the strict rules of his Catholicism, her struggling teen daughter 
(Franie Acoba) and her introspective 10-year old boy (Lincoln Cohen), who may see more than he knows… far more than he knows. Upsetting their delicate balance is Mom’s encounter with a new hair stylist (the superb Brenda Braxton) who has psychic abilities. Then there’s the silent apparition of a male teenager (Nicky Torchia giving an enchanting performance without saying a word).
Downtown, the four evangelists are well-defined: Mark is the oldest and the most traditional; Luke is the youngest, with an almost school boy enthusiasm—it’s a surprise when he makes reference to having several children; John is the most passionate in his opinions and views; Matthew is the nice guy, willing to appease the others. Each of these actors grab hold of their stage personalities and run with them. They are wonderfully in sync and embrace the author’s attempt to run a thin line between biblical images and contemporary humor. At times they seem to be at a writers’ conference, pulling each others’ work apart; at 
other times they are very conscious of the political agenda in creating a new religion. Are they simply devout followers or are they setting a practical and political agenda for the future?
Religion is very much at the center of Mystic Conversations, although the play could have been developed more fully. Catholicism is simply equated with the dogmatic Father, who has a very limited view of the spiritual world. This doctrinaire stance leads him to be very rude to his wife and dismissive of his son. The playwright has said that the play is semi-autobiographical, and thus her emotions may be getting in the way of more balanced drama. Opposing the Father, though they never have a scene together, is The Mystic (brought to shimmering life by Braxton) who offers compassion and warmth and the affirmation of a more expansive view of life and death.
Four Evangelists has a similar character. As the story unfolds, two opposing characters invade the conference. First is Paul (Andy English, blessed with a commanding and poetic voice), arrogant and unapologetically misogynistic. And then enters Maria, aka Ma
ry Magdalene (Barbara McCulloh), wise and witty; she’s also the only one who possesses the truth, though cagey in how much she shares. The actress brings a special glow to the role, serene and warm. Her performance raises the production to a new level.
Both productions benefit from excellent directors. Joey Brenneman provided detailed attention to Mystic Conversations, even finely planning the multiple set changes (well devised by Dana Weintraub) so that the play kept moving forward, avoiding the dead air that such shifts can engender. And the Evangelists were guided by Mark Harborth, making expressive use of the large playing space: employing various levels and defined areas for dramatic variety.
As for flaws, neither show was a complete success. Four Evangelists, at a scant hour running time, seems awfully rushed and undeveloped. The play also assumes a great 
deal of knowledge of the New Testament and the genesis of Christianity and could leave audience members of Christian and non-Christian faith, somewhat confused (or even worse, bored) with some of the biblical philosophy. Larger-than-life characters, colorful costumes (by Anthony Paul-Cavetta) and monologues delivered to the audience, at times, made the evening feel like a musical lacking a score.
Mystic Conversations runs about 1:40 and then just stops. What feels like an act one curtain is currently the end of the play. Nothing is resolved. The fate of the marriage is left up in the air. The young son’s adjustment to the discovery of his special powers is left unexplored. Considering how invested we have become in the family, this leaves the audience with a feeling of frustration. Let’s continue.
Four Evangelists Walk Into a Fog plays at Theater for the New City, 155 1st Ave., NYC thru May 18, 2025. Tickets may be purchased via ci.ovationtix.com.
Mystic Conversations plays at Theater Row, 410 W. 42nd St., NYC thru May 17, 2025. Tickets may be purchased via bfany.org.
Mystic Conversations Photos by Hunter Canning
Four Evangelists… Photos by Jonathan Slaff
