Following its extended sold-out world-premiere run at LA’s Whitefire Theatre in March 2024, The Witness Room, an explosive behind-the-scenes NYPD courtroom drama by writer and civil rights/criminal defense attorney Pedro Antonio Garcia, makes its NYC debut for a limited three-week engagement at AMT Theater. Under the intense rapid-fire direction of Will Blum, the high-stakes tale of power and ethics, justice and loyalty, becomes increasingly contentious, as four officers and their calculating Assistant DA, with higher aspirations, clash in the eponymous back room at Manhattan Criminal Court, while confronting questions of unlawful entry, malfunctioning body cams, a coerced confession, and false affidavits, and putting cracks in the unwritten police code and unbreakable bonds of the blue wall of silence: “Cops don’t rat on cops.”
The gritty dialogue, filled with street lingo, vulgarity, racial and sexist epithets, and legal jargon (the digital program contains a glossary), escalating emotions, and moral ponderings, are realistically brought to life by a powerhouse cast of five, who laughingly taunt each other with macho vehemence (the female attorney more than holds her own against the four male cops), erupt with rage after the unseen interrogations by the criminal defense lawyer Suarez (which they angrily recreate for each other, one by one, back in the witness room), and face off about the principles and motivations of what they do, why they do it, and what constitutes the truth (with the ideal of saving the good citizens they’re entrusted to protect from the alleged perpetrators – or “perps” – of crime).
Each of the characters, all in their 30s-40s and representing a different ethnicity in NYC’s diverse population and police force, has a problematic personal and professional background that comes to light in their conversations and questioning, from issues with ex-wives and child custody, to past disciplinary actions and demotions, alcoholism, illegal drug abuse by a beloved mother, and thoughts of suicide (the play includes a shocking statistic on its prevalence among the police). They are embodied in gripping performances that capture the heated personalities, with all their bravado and flaws, camaraderie and dedication, beliefs and disagreements, and overarching willingness to do whatever it takes to have the criminal case proceed against the man they arrested and any allegations of misconduct against them discounted by the presiding Judge Waxman in the preliminary hearing.
As Kevin Brennan, referred to as “the professor” by his fellow officers and himself, Jason SweetTooth Williams offers pithy philosophical musings on the topics at hand, thoughtfully gazing into the distance, acing his interrogation rehearsal with the DA, then being blindsided in the courtroom with references to his excessive drinking. Dave Baez as T-J Moretti commands the stage with his outspoken street-smart confidence, raging machismo, and vitriol engendered by the witness-leading cross-examination of Suarez. Moe Irvin’s Terrence Sampson, an Army veteran with episodes of PTSD, enters the room with his gun (which the others were required to turn over in the courthouse), hurls racist slurs while maintaining that they’re not racist but are indicative of the “low-life scumbags preying on our own people,” while calling out “hypocritical P-C civility,” and turns violent when challenged.
JD Mollison is the one opposing voice of the sensitive Eli Torres, who was the last of the cops to enter the crime scene and based his affidavit on the word of the others, without actually having seen what they told him. His religious beliefs, conscience, and familial circumstances lead him to question their version of events, and, if called to testify, could create holes in their story. And Tricia Small, in the pivotal role of the tough-as-nails tactical Assistant DA Andrea Volpi, packs a wallop, as she coaches them all individually on what to say, and what not to say, before they’re called to the hearing to testify before the cleverly manipulative defense attorney.
The outstanding actors are supported by a realistic set by Daniel Allen (with the words “In God We Trust” hanging on the wall above), props by Oona F.I.B., and costumes by Gina Ruiz, all in keeping with the locale, plot, and personalities. They are enhanced by Lindsay Jones’ clear sound and dramatic lighting by Aiden Bezark that shifts when the characters are prepping for their court appearances.
Can they save the case or will it be dismissed on the grounds of police misconduct? Will Torres turn against them and change his account of the arrest? Or will they come together, corroborate their statements, and reaffirm their commitment to each other and the “blue wall of silence?” See for yourself in this compelling, consummately performed, provocatively written, and timely work.
Running Time: Approximately 75 minutes, without intermission.
The Witness Room plays through Sunday, October 6, 2024, at AMT Theater, 354 West 45th Street, NYC. For tickets (priced at $29-69, plus fees), go online.
