Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.
Sovereignty is the power that a country has to govern itself or another country or state. Collins English Dictionary
When a drunk white man wearing a Trump T-shirt stumbles into a bar on Cherokee lands and is subsequently evicted, we have our first hint that Mary Kathryn Nagle won’t hesitate to include current politics into her play, Sovereignty, now playing at Arena Stage. Indeed, parallels between the administrations of Andrew Jackson and Donald Trump are plentiful. Jackson made removing the Cherokee nation from ancestral lands in Georgia his campaign promise, just as Trump continues to pursue strict immigration policies, including his central campaign promise, a wall between the U.S. and Mexico. (Jackson’s portrait is prominently displayed in the White House and was in the background in November as Trump honored a group of Native American code talkers during World War II.)
(L to R) Andrew Roa, Kalani Queypo, and Jake Hart
Sovereignty, whichflashes between present day and the 1830s, stresses that the battles Native Americans continue to fight are not over. (While the play attempts to educate the audience about these past and current events, reading up on this troubling part of our nation’s history beforehand is recommended.) Jackson remained focused on relocating the Cherokees farther west, even defying U.S. Supreme Court Justice John Marshall’s 1832 decision in Worcester v. Georgia that held Native American nations were “distinct, independent political communities retaining their original natural rights,” and thus were entitled to federal protection from the actions of state governments that infringed on their sovereignty.
Those within the Cherokee nation were divided on what to do. Supporters of Chief John Ross defended the rights of the Cherokees to stay on their lands, while followers of Major Ridge, John Ridge, and Elias Boudinot, known as the “Ridge Party,” saw relocation as inevitable and signed the Treaty of Echota which set out the conditions for removal. (Nagle is a direct descendant of Major Ridge and John Ridge.)
Joseph Carlson and Kyla García
In Sovereignty, those divisions continue to reverberate when Sarah Polson (Kyla García) returns to the reservation where she grew up. Now an attorney, she’s come back to help her people. Her professional and personal life will never be the same. She becomes engaged to a white man, Ben (Joseph Carlson, who also appears as President Jackson), while also using her legal talents to fight for a continuation of the Violence Against Women Act (VAWA). In the 1978 decision Oliphant v. Suquamish Indian Tribe, the Supreme Court ruled that tribal courts did not have jurisdiction over non-Indians who committed crimes on tribal lands. Justice William Rehnquist wrote the majority opinion, with a dissenting opinion written by Justice Thurgood Marshall who was joined by Chief Justice Warren E. Burger. In Playwright’s Notes included in the program, Nagle says that following that court decision, violence against Native American women on tribal lands “skyrocketed,” since non-Indian offenders knew they wouldn’t be prosecuted for their crimes. In 2013, Congress passed VAWA, restoring part of tribal nation’s jurisdiction. What will happen in the future remains a question.
All of this is a lot to digest in a two-hour play. It helps that the set is minimal (design by Ken MacDonald), and that Director Molly Smith maintains a brisk pace between scenes. (While the first act suffers from information overload, the second act unfolds more smoothly.)
Kyla García
García is the centerpiece of the play (channeling the playwright all the way), and she’s more than up to the task. A slight figure in a bright red dress, she doesn’t shy away from debating tribal chiefs or resisting her fiancé’s attempts to focus on her wedding rather than the law. While Carlson is believable as Ben, he’s less so as Jackson.
Kalani Queypo and Dorea Schmidt
Dorea Schmidt, the only other woman in the cast, handles with aplomb her two roles: present day Flora, who has several lines that inject a bit of comic relief into the action; and, Sarah Bird Northrup, the white woman who marries John Ridge and serves as his support during dark times. As John Ridge, Kalani Queypo plays the role of the statesman, trying to negotiate a compromise that will save his people, yet realizing that doing so may make him a target. Andrew Roa is a standout playing Major Ridge, where he delivers his dialogue in the Cherokee language, and as Roger Ridge Polson, Sarah’s doting father, who shows his softer side with his grandchild. Jake Hart is terrific as Elias Boudinot, in the past, and Watie, in the present.
The one act of violence in the play is jarring and, while making a valuable point, also strains credibility with regard to the motivations of various characters. Still, that scene certainly brings home what’s at stake for women on tribal lands who may not be able to depend on the law to protect them.
Photos by C. Stanley Photography
Sovereignty Written by Mary Kathryn Nagle Directed by Molly Smith Arena Stage 1101 Sixth Street, SW
When the National Portrait Gallery scheduled an extensive renovation of the museum’s “America’s Presidents,” the exhibition briefly closed from February 26 through March 23. A temporary exhibition has now been installed in the west gallery on the second floor and will remain on view until September 4. The newly restored gallery space will reopen on September 22, 2017.
“America’s Presidents,” the nation’s only complete collection of presidential portraits outside the White House, is the museum’s most popular exhibition, so a seven-month closure was ruled out. “We don’t want to get letters from school groups saying they are disappointed that they didn’t get to see the presidents,” said David C. Ward, senior historian and director of scholarly programs, National Portrait Gallery. The temporary home for the nation’s 44 presidential images offers visitors a special treat: two woodburytype portraits of former President Barack Obama by Chuck Close. (Obama’s official portrait for the museum has yet to be commissioned.)
Also on display in the space is “Hindsight Is Always 20/20” by contemporary artist Luke DuBois. Working with the state of the union addresses of 41 presidents, ending with George W. Bush, DuBois created “word clouds,” pulling words and phrases from these speeches and arranging them like an optician’s eye chart. The result is a snapshot of what major issues occupied each president as he addressed the nation.
Refurbishing the permanent exhibition, as well as setting up its temporary home, is “an enormous undertaking,” according to Ward. “We’ve been open for ten years, and there’s been a desire to redo the exhibition, from the lights to the historical context,” he said. Besides the 44 paintings, the show also includes a priceless bust of George Washington, housed in a glass case that requires proper security precautions. Still, Ward said the museum’s staff was up to the challenge. “You don’t want to get bored as curators,” he said.
David C. Ward
Ward, who is a walking encyclopedia on presidential history, led a press tour through the temporary exhibition on March 23 before it opened to the public. Besides sharing insights and anecdotes about each president, Ward explained the complexities involved with structuring and maintaining such a popular exhibition. Each president, for example, has his portrait in the exhibition, no matter his place in history. “Franklin Pierce, a mediocre president, is given equal stature to Lincoln,” Ward said. “James Buchanan, considered the worst president, sat in office in the winter of 1860-1861, when the south seceded.” Although Lincoln was elected in November, he was not inaugurated until March, making Buchanan “the lamest of lame ducks.”
The passage of time often changes the public’s opinion of a president. Harry Truman, for example, was not well liked while he was in office. “Truman now gets high marks,” Ward said. “He is seen as a progressive Democrat who was also a straight shooter.” On the flip side, Andrew Jackson, popular while in office, is now vilified for his “belligerent masculinity,” and deplored as an “Indian killer.”
Theodore Roosevelt, who was governor of New York, was distrusted by the party leadership who wanted him out of the state. “They made him vice president for William McKinley,” said Ward. Of course, after McKinley was assassinated, Roosevelt became the nation’s 26th president. “You think history is orderly, but often it is based on caprice and contingency,” Ward noted.
While many of the portraits in the exhibition are part of the museum’s collection, others are borrowed from other institutions or on loan from private collectors. Sometimes the right portrait of a president just isn’t available. After the museum received a letter objecting to Dwight Eisenhower’s portrait that showed him in a military uniform, the museum had to search for a replacement. The one now on display came from Susan Eisenhower, a granddaughter, and shows the former president in a blue business suit.
The White House selected Robert Anderson, one of George W. Bush’s Yale classmates, to create the portrait of the 43rd president. The painting shows Bush in an open neck blue shirt relaxing at Camp David. Not all presidents are pleased with the results of the artist’s efforts. Lyndon B. Johnson called his portrait by Peter Hurd “the ugliest thing I ever saw.” That painting, meant to be Johnson’s official White House likeness, now hangs in the National Portrait Gallery.
And not all artists like their subjects. That was the case with Norman Rockwell who was charged with painting Richard Nixon. According to Ward, Rockwell limited the time he had to spend with Nixon by substituting a friend’s hand for that of the 37th president.
Brandon Fortune
When “America’s Presidents” reopens on September 22, Gilbert Stuart’s “Lansdowne” portrait of George Washington will be back on view, according to Brandon Fortune, chief curator, National Portrait Gallery. In the temporary space, another Stuart portrait of Washington is on view, showing the first president in the black velvet suit he wore on formal public occasions. Fortune said the portrait shows Washington “at his most human.” She also singled out Abraham Lincoln’s portrait by George Peter Alexander Healy which depicts the 16th president in a contemplative pose.
When the newly refurbished gallery opens on September 22, the space will boast improved graphics and lighting. Interactive touch screens will allow visitors to explore each presidency. There will also be a new website and a new edition of the museum’s book of presidential imagery.
Chances are the museum’s most popular exhibition will be even more popular come September.
