Sex sells as the old adage goes. It may be marketable, but you have to ask yourself what it has to say. Likely sex will dominate the discussion among patrons of Thomas Bradshaw's new play at American Theater Company. With bold direction by Ethan McSweeney, Fulfillment will undoubtedly ruffle some subscriber feathers. 

The play begins with Michael (Stephen Conrad Moore) purchasing a multi-million dollar apartment in Soho and describing his sexual relationship with his coworker, Sarah (Erin Barlow). She soon puts the idea in his head that he isn't being made partner at the law firm because of his race. Whether it's true or not becomes subject to interpretation as the rest of Michael's life begins to spiral out of control. 

Bradshaw's script is flawed in that it's not enough about any one thing to really grasp at a central narrative or question. If it's a play about the inequality of underrepresented groups (African Americans and women) it never really connects the dots in the way that say, Disgraced does. If it's a play about American desire for more and more, why isn't the main character greedier? 

The scenes are too copious and too short to get down to anything significant. In fact, there's never really any rational conflict between characters, or at least none that lead to anything consequential. More often it's a story about a man who has trouble with his neighbor and the occasional drinking binge. The unfortunate part is that the dialog is actually really strong and incredibly well-acted, but in the end, it doesn't really add up to much. 

Perhaps even more distracting are the numerous instances of gratuitous stage sex and full frontal nudity that cross the line of good taste. It seems to be an overused, if not unnecessary, gimmick on which this play too heavily relies. Maybe if the material was edgy enough to justify the graphic content, it would seem more vital. Mostly it just comes off as a desperate attempt to shock audiences. 

Through December 13th at American Theater Company. 1909 W Byron Street.