Broadway Reviews Theatre Review by Howard Miller - April 21, 2026 The Balusters by David Lindsay-Abaire. Directed by Kenny Leon. Scenic design by Derek McLane. Costume design by Emilio Sosa. Lighting design by Allen Lee Hughes. Original music and sound design by Dan Moses Schreier. Hair, wig, and makeup design by J. Jared Janas. Fight direction by Thomas Schall. Vocal coach Deborah Hecht. Movement and associate director Ioana Alfonso. Artistic advisor Lynne Meadow.
Welcome to Vernon Point, a charming enclave boasting broad tree-lined streets and well-appointed Victorian houses that are preserved within the guidelines of landmark designation. Maintaining the status quo is the mantra under the watchful eye of the local property owners' governing body and its seemingly elected-for-life president, Elliot Emerson. Depicted here by Richard Thomas, Elliot is a blend of self-important arrogance and noblesse oblige, clinging to his gavel as if it were a holy relic. But he's not alone; to varying degrees, there is a lot of that to go around among the rest of the thin-skinned, gossipmongering, backstabbing board members. You'll get to know all of them over the course of the play, which runs just under two hours without an intermission. Just for fun, I asked ChatGPT to identify the sort of complaints typically raised against governing boards like the one that is depicted in The Balusters. Turns out to be quite a lengthy list, ranging from micromanaging day-to-day living, to an ever-expanding set of exacting building and remodeling requirements, to ancient grudges and potential conflicts of interest. Place control over these matters in the hands of privileged players with personal agendas and ever-changing alliances, and you're in for quite a competitive game of pickleball. The play unfolds in the home of the board's latest member, Kyra Marshall (Anika Noni Rose). She is a newcomer to the neighborhood, having moved to Vernon Point (located in an unnamed East Coast city) from Baltimore, where she served in a similar capacity in her co-op building. We learn early on that she was involved there in a heated situation that got out of hand, so much so that starting over elsewhere was the smartest option. "They didn't always appreciate my input," is how she explains it, more than hinting that there was some unspoken racism aimed at her as a Black woman. For now, Kyra is playing it super cautious, wanting very much to fit in with the community. She even volunteers to chair a subcommittee to look into ideas for dealing with a dangerous intersection just outside her home. You'll perhaps not be overly surprised to discover this becomes a trap that gets her caught up in the muddy waters that have swirled around the rest of the board members for years and years.
"I'll have you know that I am a life-long Democrat," grumbles Elliot in another situation when he feels his liberalism is being challenged. But, of course, people are not the banners they fly; they are just people. Their flaws are obvious to each other, if not to themselves, and they reveal themselves to be just a bunch of upscale suburbanites living in what is technically an ungated urban community that, through its watchdog organization and door security cameras, is gated in spirit. The only outsider who is allowed in is Luz (Maria-Christina Oliveras), Kyra's Filipino housekeeper. Luz becomes our all-seeing witness. She not only understands the lay of the land, but she, too, is nursing a grudge, particularly with Elliot. And speaking of the peerless leader, who tries to present himself as the voice of reason during the board's heated sessions, his already fairly transparent guise dissolves completely near the play's end. It is at that point that we learn the exact meaning of the play's title. Hint: the production has a fight director on board. The Balusters is directed by Kenny Leon, whose approach wisely seems to have been to allow the excellent cast members to find their collective bearings so that they function as a unit. This is an ensemble piece, as intricate as an opera, albeit one with multiple prima donnas (in addition to the aforementioned, there are the ever-marvelous MaryLouise Burke, Margaret Colin, Kayli Carter, and Jeena Yi) and a couple more divos (Carl Clemons-Hopkins and Michael Esper). Brava and bravo all around for making this social satire an entertaining and often very funny night on the town, especially when we can hide in the audience and watch the fireworks (ranging from sparklers to aerial rockets) going off from a safe distance.
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