John Strand’s extremely smart, well written play is set in 2012/2013. (It was first produced in 2015.) Utilizing Justice Antonio Scalia as poster boy for dogma despite intellect, it spotlights a belief from which we continue to suffer. Those who protest that our Constitution should evolve as a living breathing thing, are represented by a self-avowed “flaming liberal” law clerk whom he hires to keep himself sharp/aware of opposing arguments, not the least because the Justice enjoys a fiery, well honed dispute. Apparently Scalia was known for hiring dissenters.
The piece is surprisingly balanced, including articulate positions on both sides of the fence, or should I say wall. It deftly manages to include both the vicissitudes of a counter-intuitively warm and respectful relationship as well as unique situations and surprising humor. Though the hour forty without intermission is packed with political ideas, it’s also entertaining.
Antonin Gregory Scalia, appointed by President Ronald Regan, was a Justice of the Supreme Court of The United States from 1986 until his death in 2016. The arch-conservative lead an Originalist faction that believed the Constitution is sacrosanct, that it’s the high court’s role to interpret the law based on dictates of its original founders.
Originalism doesn’t allow for changes in social structure or enlightenment/admission of immorality. When conceived, the United States was a nation of slaves, women and workers had no rights, the gay community was not recognized.
“A great opera by Verdi or Donizetti must always be only what it is. Oh, you can interpret the meaning in different ways. But there is a sanctity to the score. The notes are the notes.They are exactly what the composer composed, now and a hundred years from now,” Scalia says in the play. (Classical music and opera are effectively employed to set scenes. (Sound Designer Eric Schimelonis)
Edward Gero and Tracy Ifeachor
In short, Scalia hires Cat despite and because of her views growing both to admire and be fond of his clerk – and vice versa. During her tenure, the two personalities fight with judicial tools and a few outside the box. At one point, a third antagonist appears further reflecting – differences.
Edward Gero, who looks uncannily like Scalia, has been playing the role for some years. In fact, after initial homework, he sat in on a public session of the court as the JUstice’s guest, had a series of lunches with him, and accepted an invitation to skeet shoot.They never discussed the play nor did Scalia attend. (One of his sons did.)
The actor is completely natural/credible. We believe we’re observing the incisive mind, passionate principles, and personal reactions of a formidable, multidimensional man. Speech pattern and walk are distinctive. Emotion is never merely surface. Conflict, consideration, affection, and physical fallibility are visible.
As Scalia’s chief law clerk, Cat/Catherine,Tracy Ifeachor is not as accomplished as her peer. My companion commented, “Well, she’s young,” which I consider no excuse. This is a play in which combatants need to hold their own. Though Ifeachor offers excellent passages, she relies too much on facial expression. The actress doesn’t harm this dynamic piece but ultimately keeps it from further impact.
Tracy Ifeachor; Brett Mack
Also onstage briefly is Brett Mack as Brad, a conservative, law school competitor hired to help Cat with an important dissent. An ardent supporter of Scalia, he locks horns with Cat. We have no opportunity to get to know the person, making him less solid, but Mack does a good job of advancing a singular point of view.
Director Molly Smith is adroit with realistic pacing and movement. Not a moment is superfluous or excessive.
Mischa Kachman’s minimal Set Design is just right. Love the chandeliers.
Production Photos by Joan Marcus
Opening: Edward Gero
The Originalist by John Strand
Directed by Molly Smith
Through August 19, 2018
59E59 Theaters
