NEW YORK CITY—A running throughline in several of playwright’s Thornton Wilder’s works (“Our Town,” “The Long Christmas Dinner,” “The Skin of Our Teeth”) is an almost mystical connection to the universe and an endless cycle that shows how we’re part of something bigger than ourselves. That’s constant, even if those involved never fully realize that truism.
This idea is also brought to the fore in “The Emporium,” an unfinished work Wilder labored on for many years. Rediscovered, completed, and adapted by playwright Kirk Lynn with permission of the Wilder Estate, the result, now at Classic Stage Company is something of a mixed bag. Yet despite certain missteps, there is no denying the story’s possibilities.
The show starts with an explanation of how this Classic Stage Company production came together.
John (Joe Tapper), who is unsure of his true last name, was raised in an orphanage after being found as an infant in a basket on the front steps of a big city department store called The Gillespie and Schwingemeister Emporium.
John (Joe Tapper), thinks aloud, in “The Emporium.” (Marc J. Franklin)It’s a place you can supposedly find everything one’s heart desires, and it’s filled with employees seemingly fulfilled in their jobs. They don’t always get paid, and their actions are monitored by an unseen Board of Directors.
For as long as he can remember, John has been determined to work there, despite the fact the hiring process is a complete mystery. While he waits for his application to be approved, he takes a job with a competing organization called Craigies. As he rises in their ranks, he catches the eye of the company’s president and the interest of his very eligible daughter.
However, John has already fallen in love with Laurencia (Cassia Thompson), one of a select group of The Emporium’s staff. She seems to know certain secrets about it that John is not yet ready to learn.
As the years pass, John becomes increasingly cynical at Craigies, putting money away for his future while enticing workers away from The Emporium with the promise of better wages, shorter hours, and a happier atmosphere. John eventually faces a crisis of faith when it becomes clear the path laid out for him may not be the one he truly wants. The result is the chance for a spiritual and quite literal rebirth, if he chooses to take it.
John is in love with Laurencia (Cassie Thompson), in “The Emporium.” (Marc J. Franklin)From the start one begins to see tantalizing hints of the themes of continuity and connection that Wilder delighted in exploring. As John moves from one stage of life to the next, he encounters those who have had dealings with The Emporium and the apparent wonders it holds.
Another reoccurring theme is the presence of orphans, with various characters claiming that status at one point or another. John becomes part of this cycle when he finds a baby on The Emporium’s steps and brings it to the orphanage where he was raised. Certain items—including a somewhat ominous bottle—keep appearing in different situations. There are multiple warnings about the danger of employing a “quick fix” to solve a problem rather than taking the time to handle the matter properly, so it won’t reoccur.
The cast of “The Emporium.” (Marc J. Franklin)The overall effect is akin to a slow-moving mystery. Those who can stay with the narrative—which gets tedious at times—will certainly see what Wilder wanted to explore, along with Lynn’s attempts to pull it all together. Though by the end, it can be hard to care about the characters, none of whom are as fleshed out as they could be.
In addition, certain scenes don’t really work, including the addition of a prologue Wilder apparently sketched out but never completed. The audience voted (yes, at the performance I saw) during intermission on whether to have the cast present it immediately afterwards. However, the prologue is meandering and adds little to the show.
(L–R) Mr. Benjamin (Patrick Kerr), Mrs. Frisbee (Mahira Kakkar), and Miss Coley (Eva Kaminsky), in “The Emporium.” (Marc J. Franklin)Wilder’s prologue and that first explanation are both unnecessary. The explanation of the genesis of the show is already included in the program notes. Removing both of these sequences could have shortened the play by about 15 minutes without eliminating anything important.
Tapper works well as Jake, an uneasy everyman looking for his place in the world. He’s a man who does too much too quickly, rather than taking the time to seek others’ advice.
Thompson is fine as his would-be girlfriend, although there isn’t much chemistry between the two characters.
Patrick Kerr, Mahira Kakkar, and Eva Kaminsky are interesting counterpoints as figures who offer a view of the flip side of The Emporium with their own agendas. This trio seems to break the fourth wall more than once as they insert themselves into the story.
“Thornton Wilder’s The Emporium” offers quite an intriguing story with the theme that there’s a possibility of a second chance for those who finally understand the truth. The production just hasn’t managed to bring forth that message effectively.
‘Thornton Wilder’s The Emporium’
Classic Stage Company
136 East 13th St., New York City
Tickets: ClassicStage.org
Running Time: 2 hours, 15 minutes (one intermission)
Closes: June 7, 2026
What arts and culture topics would you like us to cover? Please email ideas or feedback to features@epochtimes.nyc
