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.)
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
First, necessarily, comments on the controversy: Theater is a living, breathing art form. It has always reflected and reacted to its time. Currently, LGBT and apocalyptic themes are joined by a proliferation of stories with immigrant, and Middle East discourse/illumination. Religious freedom, women’s rights and segregation have ruled the stage in waves.
As you’ve undoubtedly heard, in this, the Public Theater’s current iteration of Shakespeare’s Julius Caesar, the central character is meant to physically resemble Donald Trump and his wife to sound like Melania. Why not?! The classic drama has been produced with Caesar portrayed as Mussolini in Orson Welles’ anti-fascist version, an unnamed African dictator for that of the Royal Shakespeare Company, and, in 2012, President Obama at Minneapolis’ Guthrie Theater. None of these interpretations provoked protests. That original text resonates in each rendition is sufficient reason to restage the piece.
Tina Benko, Gregg Henry, Teagle F. Bougere, Elizabeth Marvel
Oscar Eustis, Artistic Director of The Public Theater, chose Caesar for relevance and, in his own words, as “a warning parable.” This examination of how far a people may go to protect democracy from a charismatic demagogue clearly shows radical consequences of anarchistic violence rather than advocating it. A staff driven by greed and personal advancement (sound familiar?) gets just desserts. Brutus is the only patriotic, if misguided conspirator, a fact acknowledged but not celebrated. Fatalism sweeps the stage like sirocco. Chaos ensues.
The play itself is problematic. While much proves as lively as it is timeless – “Who is it in the press that calls on me?” is from bona fied text (the audience laughs), a long, dense scene in which Brutus and Cassius disagree on plans could put anyone to sleep. Attention dips for a time after Marc Antony’s spectacular death bed (here, a gurney) oration.
Corey Stoll and John Douglas Thompson; Nikki M. James and Corey Stoll
Julius Caesar (Gregg Henry, with inadequate bombastic presence) greets adoring Rome with wife Calpurnia (Tina Benko, palpably seductive; great Slavic accent) preening by his side. At one point, he bats her away, a gesture that could easily have been played in reverse had the director wanted to be more partisan. Though he refuses a crown, it’s obvious Caesar’s fingers itch.
Fearing the loss of democracy, members of The Senate plot assassination at the instigation of Brutus (Corey Stoll, who underplays so much, it feels like we’re watching a disgruntled bureaucrat, not a soldier or statesman.) “He scorns the base degrees by which he did ascend,” Brutus declares of Caesar. (Currently applicable?)
Of this bunch, Teagle F. Bougere’s Casca is solidly credible and John Douglas Thompson (Cassius) provides one of two masterful characterizations every time he’s onstage. Thompson is vital, impassioned; his voice deep and invested, phrasing accessible yet poetic, presence shimmers with power. A soldier to his toes.
Corey Stoll and The Company
Conspirators come and go at Brutus’s home prompting questioning concern by his wife Portia (an excellent Nikki M. James) who tries unsuccessfully to seduce her husband into telling her what’s going on. Calpurnia almost has better luck when, fearing the portent of a dream, she attempts to get Caesar to blow off the Senate in favor of cavorting with her, initially in a gold bathtub (inspired). With convincing reinterpretation Decius (Eisa Davis) changes his mind back, however. It’s here we first meet Marc Antony (Elizabeth Marvel), seemingly drunk and wearing shades (go figure), arrive to accompany her leader to the gathering.
You know the rest. Caesar is stabbed multiple times – here, first in the back, then physically pulled over the top of a podium to the floor and pierced by all. Brutus is the last and apparently most reticent, appearing directly after, glazed as a deer in headlights. A couple of actors have difficulty getting daggers out of pockets. One participant photographs the body on a Smart Phone.
Antony is devastated. “She” secures permission to address the public after Brutus’s brief announcement of Caesar’s death. (Pronouns change when applicable.) Marvel, a second terrific performance, looks and sounds like Sissy Spacek replete with Texas accent. The actress roils then erupts. “Friends, Romans, countrymen, lend me your ears…” One of Shakespeare’s great Machiavellian speeches, it sounds as if in support of Brutus & Co while denouncing them with honeyed words, inciting the crowd. Nuanced writing moves seamlessly from defeat to empowerment to challenge. Marvel wonderfully emotes from her gut.
Elizabeth Marvel and The Company
The rest is demonstrations, Civil War, firing squads, and suicides. Battles are well staged. With civilians calling out, then running on stage from all over the audience, energy high and movement constant, violent pandemonium is evoked despite lack of much choreographed fighting. (NYC sirens often add.) Political and psychological parallels are many. Alas, the show’s incredibly short run doesn’t allow more of you to find them for yourselves.
Director Oscar Eustis moves his large cast with strategic skill immersing the audience, manipulating tension, creating sweep. Two-handers create palpable intimacy. Brutus and his boy Lucilius (Tyler La Marr) are as profoundly personal as he and Cassius or he and Portia. When laughter rises from the bleachers out of recognition, it fades to allow the production to continue.
David Rockwell’s Set looks as if it was designed by committee members each of whom stuck to his own vision, which, judging by his organization’s current ubiquity, may be the case. Too many styles deny the play gravitas as well as cohesion. Additionally, while a poster-plastered, graffiti-filled wall supporting a large number of floral tributes is timely and the Senate chamber looks splendid, inside Brutus’ tent resembles a lady’s sewing room and various Photoshopped panels evoke high school productions. Oh, and there’s the giant eye, a representation of Big Brother?
Most of Paul Tazewell’s contemporary, non-distracting Costume Design works well, though street cops without weapons or communication equipment become lite police. (His Tactical Squad is frighteningly well outfitted.)
Jessica Paz deserves double call out for Sound Design. Not only does she conjure vociferous mobs and not so distant violence, but every player speaking from the audience (and there are many) is distinctly heard. Original Music and Soundscapes by Bray Poor are cinematic.
Photos by Joan Marcus Opening: Greg Henry and The Company
Free Shakespeare in the Park/ The Public Theater presents Julius Caesar by William Shakespeare Directed by Oscar Eustis The Public Theater In the park: A Midsummer Night’s Dream – July 11-August 13, 2017
Norma McCorvey is a fascinating and complicated figure. As a young woman living in Texas, she became the “Roe” behind that landmark U.S. Supreme Court case when she filed a lawsuit seeking a legal abortion. In later years as a born-again Christian, she joined the pro-life movement and campaigned against abortion. Lisa Loomer’s play, a co-production of the Oregon Shakespeare Festival and Berkeley Repertory Theatre, arrives at Washington, D.C.’s Arena Stage at a critical time. Incoming President Donald Trump has promised to appoint conservative justices to the Supreme Court, a possible first strike to overturning Roe v. Wade.
Loomer is comfortable tackling controversial topics. She co-wrote the screenplay for Girl Interrupted, which starred Winona Ryder and Angelina Jolie as women in a psychiatric facility. Her play, The Waiting Room, brought together three women from different time periods who meet in a doctor’s office, each suffering from undergoing cosmetic procedures – foot binding, corsetry, and breast implants – to conform to society’s idea of beauty. In an interview with the New York Times, she said that she initially resisted the idea of writing a play about Roe v. Wade, feeling that a court case “sounds kind of dry.” But after doing research, she changed her mind.
Sarah Jane Agnew, Susan Lynskey, Amy Newman, and Pamela Dunlap
The play focuses on the two central figures in the lawsuit, McCorvey and Sarah Weddington, the 26 year-old attorney who argues the case all the way to the Supreme Court. It’s 1969 and McCorvey, who has already given birth to two children, one being raised by her mother, the other, placed for adoption, finds herself pregnant for the third time. Weddington and her law partner, Linda Coffee, have been looking to file a lawsuit against the state of Texas on behalf of a pregnant woman seeking a legal abortion. After an initial meeting in a Dallas pizza parlor, the two lawyers find their plaintiff. Because McCorvey doesn’t want her real name used in the lawsuit, she becomes not Jane Doe but Jane Roe. The lawsuit is filed against Dallas County District Attorney Henry Wade.
McCorvey and Weddington are polar opposites. With her wild hair and worn hippie clothing, McCorvey, played convincingly by Sara Bruner, shows the effects of a hardscrabble life. Raised by her alcoholic mother, McCorvey abuses alcohol herself and has several run ins with the law. After leaving her abusive husband, she comes out as a lesbian with a lover, Connie (Catherine Castellanos). Weddington (Sarah Jane Agnew) is an ambitious lawyer in a field dominated by men. With her carefully coifed blond hair and conservative yet feminine suits, she’s able to charm McCorvey one minute and argue forcefully in court the next. Both Bruner and Agnew break the fourth wall, frequently talking directly to the audience about what is transpiring as the case wends it way through the courts.
Except for Bruner and Agnew, these versatile cast members move in and out of many different roles, never missing a beat. Particularly impressive is Susan Lynsky who plays Linda Coffee as the uptight assistant to the more polished Weddington, trransforms into a zealous supporter of the abortion movement, then shows up as a timid pregnant woman. Jim Abele, who plays Weddington’s strait-laced husband, Ron, morphs into the Bible-thumping Flip Benham, founder of a pro-life movement. He not only breaks the fourth wall, but addresses the audience like we’re part of his loyal congregation.
Sara Bruner and Jim Abele, in front, with Zoe Bishop and Amy Newman, in rear
After the Supreme Court ruling (Richard Elmore as Justice Harry Blackmun in a black robe reads some of the language from the decision to great effect), McCorvey works in a clinic, helping other women through the process. This is where her commitment to abortion begins to waver. Loomer skillfully shows McCorvey’s change of heart as a gradual process. She’s horrified when a woman who is six-months along comes in to terminate the pregnancy. Another woman who comes to the clinic for what will be her third abortion, receives an outburst from McCorvey that the procedure shouldn’t be treated as birth control. But it’s the influence of Flip, his wife (Amy Newman), and daughter (Zoe Bishop), that has the greatest impact on McCorvey’s attitude towards abortion. When McCorvey crosses to the other side, she’s a zealous pro-lifer.
While Roe v. Wade still stands, Roxanne (Kenya Alexander), a young black woman unable to afford an abortion, delivers a caution to those who believe abortion is available to all women. Final words are delivered by Agnew as Weddington, stating that the woman running for president, a supporter of abortion rights, won the popular vote but lost the election.
Despite that pro-abortion ending, the play provides enough ammunition for both sides of the debate. As Arena’s Artistic Director Molly Smith stated in the program notes: “If the ideas in this play inspire you to spark conversations with your loved ones, contact your representatives and become active in your community, theater has done its job.”
Photos by C. Stanley Photography Top photo: Sara Bruner and Sarah Jane Agnew
Roe Written by Lisa Loomer Directed by Bill Rauch Through February 19, 2017 Arena Stage 1101 Sixth Street SW
How responsible has the media been for the success of Donald Trump’s candidacy? Is the “rigged media” now being unfair to him as the candidate suggests? Was the press unfairly critical of Hillary Clinton at the start of the race only to be supportive of her candidacy now?
These questions, and many others, will be addressed this Saturday, October 29, as members of the press provide an honest assessment of how well the media has covered the election. Members of the press from Democracy Now!, Fox News, Huffington Post, The Hill and the National Review will participate in a panel discussion on The Press and the 2016 Presidential Election at the New York Press Club Foundation’s 24th Annual Conference on Journalism. The conference takes place at NYU’s Kimmel Center, beginning at 8:30 a.m.
In addition to the panel about the press and the election, several breakout sessions throughout the morning will cover many topics that are important to journalists and those interested in how media work to bring us the news.
Millennials and the Media will look at how millennials get their news. Jon Stewart was once the main source of news for the next generation. With Stewart’s retirement, news outlets like mic.com, Vice, even Snapchat for News have arisen to fill the void. How serious and accurate are these media outlets? Is this the end of “mainstream media”? Come to the panel and find out.
Keynote speaker Elizabeth Vargas
A recent article in the Boston Globe suggests that Americans are not getting accurate information about what is happening in Syria. The Globe blames media outlets for drastically reducing the number of foreign correspondents. However, some incredibly brave journalists do put their lives at risk to find the truth and enlighten the world about what goes on in war torn countries like Syria and Afghanistan. Reporters who cover conflict areas on the ground will be at the conference on Saturday to participate in the War and Conflict Reporting panel. Come find out how these astonishing reporters cut through the fog of war, keep safe, and uncover the facts in this not to be missed panel discussion.
If food is your thing, a more light-hearted panel on Food Journalism will be of interest. New York Magazine food writer, Adam Platt, will moderate a panel of food experts and writers, including the former New York Times’ food critic, Mimi Sheraton.
Other panels will include Sports Reporting, Digital Media-Keeping it Legal, and The Podcast Boom, all staffed by experts in their fields of journalism.
Lunch will be served during the Keynote address by Elizabeth Vargas of ABC’s 20/20, whowill participate in a Q and A with Press Club President, Steve Scott. Vargas, who has chronicled her career and struggle with alcoholism in a recent book, will answer questions about the election, her career and how she is dealing with her addiction.
For more information about the New York Press Club Foundation’s Conference on Journalism and to buy tickets, visit the website.
When Arena Stage’s Artistic Director Molly Smith saw Anthony Giardina’s The City of Conversation at Lincoln Center, she was eager to have it produced in the nation’s capital. And why not? Washington is the city where these conversations once occurred in the homes of D.C.’s hostesses (think Susan Alsop and Kay Graham) who played a pivotal role in bringing together opposing sides at elegant parties. Back then, after-dinner arguments may have become heated, but the rivals continued to break bread together, even stayed friends. When the play premiered in New York, in June, 2014, Donald Trump’s candidacy was a year away. In the current campaign climate, one can’t imagine Trump, or any of his opponents, remaining civil while sharing a meal. This old social order did exist at one time, however, and our country was the better for it.
Michael Simpson and Margaret Colin
The play opens in the fall of 1979 and is set in the Georgetown townhouse of liberal-leaning Hester Ferris (Margaret Colin). This evening Hester’s guests are Kentucky Senator George Mallonnee (Todd Scofield), and his wife, Carolyn (Jjana Valentiner). On Hester’s agenda are two items: the passage of a Ted Kennedy sponsored bill that would help the Massachusetts senator’s presidential bid, and the career advancement of her live-in lover, Chandler Harris (Tom Wiggin).
Hester’s widowed sister, Jean Swift (Ann McDonough, in an excellent performance) supports her sibling’s causes and helps plan the get togethers, while never attending herself. Throughout the play, Jean serves as a reality check for Hester, often delivering advice and warnings in droll one-liners that never fail to produce laughs.
Hester’s son, Colin (Michael Simpson), arrives home from abroad earlier than expected. Hester is thrilled, not only to see him, but also with the prospect of presenting a united familial front to woo the reluctant senator over to her side. Her plans are dashed, however, when she witnesses her son’s turn to the dark side, egged on by his girlfriend, Anna Fitzgerald (Caroline Hewitt). The two have just graduated from the London School of Economics, and Colin has returned a changed man, rejecting liberal opinions once embraced. Anna dispenses with any social niceties and plunges right in, criticizing everything Hester stands for and Colin once believed in. For her part, Hester looks with distain at Anna’s disheveled appearance and offers to lend her a black cocktail dress for the evening’s festivities. Anna accepts the dress, but not the idea that she should tone down her behavior. Joining the men for brandy and cigars and espousing her conservative views, she soon has the senator and his wife eating out of her hand – not what Hester had hoped for. What really stings, though, is Colin’s strident rejection of his mother’s ideals in front of the senator.
Margaret Colin and Tyler Smallwood
We flash forward for Act Two, finding ourselves smack in the middle of the Reagan years. Hester is now babysitting for her grandson, Ethan (Tyler Smallwood), who playfully bounces a rubber ball around the living room and asks to watch Cinderella on video. (There are jokes about using the VCR – remember those?) Hester’s love for her grandson is genuine and heartfelt. And like with Colin, she can’t resist sharing with Ethan her political views, something her son and Anna constantly complain about. This time around, Hester’s out to defeat Robert Bork’s nomination to the U.S. Supreme Court. She and Jean have fashioned a letter that will run as an advertisement in newspapers where senators are still undecided about how they will vote. When Anna arrives to pick up Ethan, Hester scrambles to hide the letter, anticipating her daughter-in-law’s reaction. In contrast to the affection that Hester displays with Ethan, Anna remains all business. She’s left her bohemian look behind in favor of a severe dark blue suit in keeping with her position at the Justice Department, and she can’t seem to get out of business mode to cuddle her son.
Colin’s appearance has changed, too. His youthful bushy hair is now slicked back, Gordon Gekko style and he sports a ridiculous looking mustache. While Anna is supporting Bork’s nomination to the court, Colin is the one who has everything to lose if the effort fails. The New Hampshire senator Colin works for has gone all out to back Bork and could lose his seat. If the nomination is defeated and Hester’s role revealed, her son could lose his job. Anna finds the letter, confronts Hester, and delivers an ultimatum. Where do Hester’s emotions lie? With her son or with her politics? We learn the answers in the last scene, when we are transported to 2008, the evening of Barack Obama’s inauguration.
Caroline Hewitt, Margaret Colin, and Michael Simpson
Giardina has written an intelligent play with smart dialogue. The zingers oftentimes fly so fast it’s hard to keep up. This cast is up for the challenge. Brooklyn-born Margaret Colin is terrific as Hester, showing fierceness when defending her point of view, but warmth when watching over Ethan. Caroline Hewitt taps into Anna’s raw ambition. Because we all know someone like Anna as a fellow student, co-worker, or boss, the performance grates. Unlike with Hester, we never see a softer side to Anna, a hint of what Colin might have seen in her when he fell in love and married her. Michael Simpson’s Colin seems energized at the beginning of the play when he and Anna are a team confronting Hester. Yet by the second act, Colin seems defeated, resigned to his fate, having traded one strong-willed woman for another. He seems exhausted and beaten down, and Simpson allows us to see his despair.
Staging the play in the Fichlander, brings the audience into the action. The production team from Lincoln Center – Director Doug Hughes, Set Designer John Lee Beatty, Costumer Designer Catherine Zuber, and Lighting Designer Tyler Micoleau – have worked their magic here, too.
While The City of Conversation places politics front and center, the play is really about family. We are expected to teach our children values and share our ideas with them, but at some point those children grow up and develop opinions of their own. One can only imagine the dinnertime conversations going on these days, if not in Georgetown townhouses, at tables around the country as young and old make decisions about the upcoming presidential election.
Photos by C. Stanley Photography:
Opening: Tom Wiggin, Margaret Colin, Caroline Hewitt, Todd Scofield, and Jjana Valentiner
The City of Conversation Fichlander Theater Arena Stage 1011 Sixth Street, SW 202-488-3000