A lackluster script shortchanges Bryan Batt & company in ‘Pay the Writer’

The Rundown

Despite hundreds of TV, film, and theater credits between them, the trifecta of Bryan Batt (Mad Men), Marcia Cross (Desperate Housewives), and Ron Canada (The West Wing) face insurmountable challenges in Pay the Writer, a new Off-Broadway play by New York Times bestselling author Tawni O’Dell (Back Roads).

Cyrus Holt (Ron Canada) is dying. While the clock ticks, he tries to crank out one last novel. His long-time agent turned best friend, Bruston Fischer (Bryan Batt), fights to score a fair book deal for him and work with his pretentious French translator. Meanwhile, the critically acclaimed writer tries to right the wrongs of past relationships with his ex-wife (Marcia Cross) and children.

No Tea, No Shade

American novelist O’Dell may boast impressive credits, including membership in Oprah Winfrey‘s book club and a self-written screen adaption for her novel Back Roads (co-starring Magic Mike’s Alex Pettyfer), but her second venture at playwriting is unlikely to be lavished with high praise.

One can see the mechanics employed here, and it’s not for lack of trying and sincerity that Pay the Writer falls short. Yet human dynamics are tricky. Not every past transgression and sin is resolved, even in matters of life and death.

“I don’t have the energy to deal with her nonsense. She could never let anything go,” Cyrus tells Bruston of his ex-wife, Lana, while the pair catch up in Cyrus’ luxurious Manhattan apartment. “You mean the other women, the lying, the drinking, the disappearing for months at a time?” retorts Bruston. “That’s my process you’re talking about,” Cyrus replies.

It turns out that his process has burned many bridges, personally and professionally. Cyrus keeps his pancreatic cancer diagnosis a secret, claiming that he doesn’t want pity or fake concern, but soon, those closest to him are knocking on his door for reconciliation.

Incredulously, all of them receive it. But not before they engage in a heated confrontation about how self-absorbed and uncaring Cyrus was in earlier years. Nearly all of these scenes whiz by to a fast resolution. All is fixed, and all is forgiven within minutes.

Still, it’s refreshing to see a fully fleshed-out characterization that neither demonizes nor idolizes the main subject. Cyrus is a troubled artist, having suffered PTSD as a Vietnam veteran, racial prejudice as a Black man, and delicate artistic temperament. While so many are quick to write off and end relationships over personality disputes and disagreements, O’Dell reaffirms that we can express compassion and understanding towards those whose beliefs and flaws differ from our own.

Let’s Have a Moment

Cyrus is the only well-developed character in O’Dell’s story. Lana is a cookie-cutter, icy ex-wife whose unfortunate entrance line to Cyrus (at a Vietnamese restaurant) is “Hello, Cy. Is that Mi Quang all over your crotch, or are you just glad to see me?” 

Bruston is a hackneyed depiction of the lonely homosexual with a stellar job but no long-term relationship. He pushes his way through the publishing world with stereotypical “Don’t you know who I am” bluster that’s all too common in fictionalized versions of agents.

And not since Emily in Paris has there been a more offensive French character than translator Jean-Luc (Steven Hauck), whose accent sounds more Pepé Le Pew than Gérard Depardieu.

Cyrus shares some tender moments with his children (Garret Turner and Danielle J. Summons), but we know little of their backstory aside from the strained relationships with their father.

The Last Word

Desperate Housewives and Melrose Place fans might be thrilled to see Cross in a live performance, even though she’s been handed a mediocre script. Despite the material, out-actor Batt also gives his all—as does Canada. The remaining cast does what it can to make the tale as authentic as possible, but they, too, are saddled with dialogue that vacillates between network sitcom and movie of the week.

Tortured artists are prime for dramatic renderings (We’re waiting with bated breath for the Broadway transfer of Merrily We Roll Along.) O’Dell’s Pay the Writer will likely soon be forgotten — and difficult for budget-strapped regional theaters to produce with an unnecessary cast of eight. Yet as one patron muttered immediately after the curtain call, “Oh, well… I’ve seen worse.” Agreed.

Pay the Writer plays Off-Broadway at the Pershing Square Signature Center through September 30, 2023.

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