Fatherland – In Trump’s America, A Father-Son Relationship Torn Apart
The FBI estimates that between 2,000 and 2,500 people entered the Capitol Building on January 6, 2021 with some vandalizing and looting. Over 700 of those accused have been charged according to an ABC News count. These are overwhelmingly male, the largest number from Florida, Pennsylvania, and Texas.
The play’s Father (Ron Bottitta) was an oil worker whose family spent three apparently middle class years in Asia before the bottom fell out of petroleum. He lost his job and had no savings. Back in Texas, the breadwinner flailed. In a house with two daughters, Father and Son (Patrick Keleher) had always been close. The boy was more thoughtful and educated but loved, even admired his dad. “Then Trump became president. Dad needed an outlet and found one.”
The 50 year-old began to read books by our boastful ex-president. We hear excerpts from televised speeches. He joined the Texas Three Percenters, a far right, anti-government militia advocating resistance to the U.S. federal government. A flag was raised outside their garage. He hosted meetings. “When tyranny becomes law, rebellion becomes duty.”
Patrick Keleher
Suddenly the Father was always armed. He slept with a gun by the bed, cleaned his AR15 (light, semi-automatic rifle) for self-defense, and often wore a bullet-proof vest. The 19 year-old boy recalls events to a U.S. Attorney (Anna Khaja). It’s March 2022. We’re in court. Every word spoken comes from court evidence, public statements, and the official court transcript. Apparently the Son also surreptitiously recorded his ranting Father.
Feelings of disenfranchisement – to deprive someone of a right or privilege – have become a national epidemic. People are frustrated, angry, searching for like-minded people and organizations who would, as the father declares, have their backs. Houses of God offer this to many. There are proactive democratic alliances determined to improve things despite bureaucracy, and other alignments that feel the only way forward is to destroy existing authority. Willingness, even enthusiasm about taking violent action, is thought of as strong and masculine. (Note the current shift of some men to the GOP.)
Ron Bottitta and Patrick Keleher
An illusion of power and success bred camaraderie. “The machine is riding us down. Congress has made
a fatal mistake…We’re about to rise up,” the parent tells his Son. On a shopping trip, he blatantly – unquestioned – purchases 1,000 rounds of ammunition and hundreds of zip ties. The young man is alarmed to see his dad change license plates.
Fearing for his country, his family, and his Father, the Son agonizingly telephones the FBI. Meanwhile the Father goes to Washington, D.C. to join the January 6 protesters. A parenthesis where we see him equipping himself for battle and storming (unwittingly leading an advance on) the Capitol is particularly jarring. Solo dramatization depicts confidence that right is on his side, the thrill of crowd-swell, peer affirmation and risk. Dad feels a part of something bigger than himself; exhilarated, even ennobled.
Home becomes a pit stop in wait for a next coordinated demonstration… until the Father is arrested. We’ve watched a journey from assumed impotence to frightening and familiar outcome.
Ron Bottitta
Sequence goes back and forth from earlier interactions to the courtroom. A Defense Attorney (Larry Poindexter) circles the periphery until late in the play when he makes a weak case for the Father’s loss of mental capacity. It would’ve added balance to hear this better developed.
As director and creator, Stephen Sachs employs the staging area with creativity. Pacing is excellent. When, out of a witness chair, the Son sits on a table dangling his feet talking to the U.S. Attorney, when she informally touches his shoulder, however, we jerk away from credibility. The boy’s reactions to his morphing Father seem too passive. Is this an actor waiting for the spotlight, or an odd directorial decision? (Outbursts land well.)The U.S. Attorney also shows little or no expression. Surely she would if only to affect the jury.
Larry Poindexter, Ron Bottitta, Patrick Keleher, Anna Khaja
Ron Bottitta is marvelous as the Father. From Norman Rockwell Americana, to emotional spin-out, to fervent Proud Boy foot soldier, his every move and word reads bona fide. A last court speech made wearing a suit now too big for him (nice touch) is particularly adroit.
Joel David’s set, broken walls with thickly, textured paint, and Alison Brummer’s lighting both seem to belong to another play. The latter often distracts with rainbow colors having nothing to do with proceedings. Stewart Blackwood’s sound design is first rate as are Danyele Thomas’s costumes.
An ambitious observation of “the other side” with sympathy, but no answers.
Photos by Maria Baranova
Fatherland
Conceived and Directed by Stephen Sachs
New York City Center Stage II
131 West 55th Street
Through November 23, 2024
