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Laurie Callaway Laurie Reviews Light Raise The Roof at the New York Theatre Workshop  Light Raise The Roof has good intentions. It seems to really mean well. It's too bad that worthy wishes do not transform into a good play. This is not to say that taking on the subject of homelessness, the theme of Light Raise The Roof, is easy. Just like any other play about 'big issues,' the curse of Preaching looms around the edges of the play, trying to color it with haughty overtones. The problem is that, while the play eludes bombastic-ness, it does so without any spirit. Light Raise The Roof is about a man, Cole, who through his architectural talent, tries to improve the quality of his friends' lives by building them a home to stay in. It details the obstacles such as drug abuse, the state of homeless shelters and police conflicts that make Cole's ambition seem futile. Although there are good performances by Chris McKinney (Cole), Caroline Stephanie Clay (Arnell, et. al.) and Colleen Werthmann (Marmalade, et. al.) as friends of Cole's, no one in the cast of characters can be emotionally empathized with. They can only be understood -- an understanding provoked by cold facts rather than sympathy. Light Raise The Roof sorely needs a sentimental center for the audience to gravitate toward and pin their banners of encouragement on. As it does not have this center, it becomes a cold morality play, a dose of castigation for people more fortunate than the homeless. Instead of making an undeniable case for the rights of the homeless by calling on more than just peoples' intellect, the play deteriorates into a diatribe in theatre's clothing. Without spirit, Light Raise The Roof becomes just an obligatory play celebre. |
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