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Saturday, Aug 30, 2008
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Halcyon Days: Part political polemic, part sarcastic absurdity |
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| Halcyon Days: Part political polemic, part sarcastic absurdity | ||
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by Miryam Gordonv -
SGN A&E Writer Halcyon Days By Steven Dietz Directed by Carol Roscoe Seattle Public Theater Now, through October 21, 2007 Sometimes-Seattle resident, Steven Dietz, writes about the U.S. invasion of a country that has no intention of invading the United States. He writes about the death toll of that country's native population, which is termed "collateral damage," and the need to protect the United States from a military buildup. Guess where? This is not a 2007 play about Iraq. This is about the 1983 U.S. invasion of the island of Grenada. Part political polemic, part sarcastic absurdity, Dietz' play supposes that President Reagon's poll numbers were going down and the administration needed a way to get people's attention off of things like the Sandinistas and Marines being attacked in their sleep in Lebanon. So, they attack Grenada. The people in the play's government do many of the things we've almost come to take for granted about how the U.S. administration does business: spin facts to fit their theories, rename things like "death toll" into "collateral damage", and get the media to focus on a human interest story to stop Americans from eating dinner while they watch the news. Carol Roscoe's production for Seattle Public is a little too heavy on the bombast, and slows the play down from the possible snap it could have. The second act does pick up, but you have to wait until intermission to feel the pace quicken. There is a bit too much pointed conversation, feeling like she doesn't quite trust the audience to get it unless she emphasizes it. One of the worst muggers is Paul Ray as Blonigen the spy. He doesn't actually look at the other actors, at times, creating a strange sense of autism. Having said that, it's an intriguing play, particularly because it is so timely. The set is a versatile and elegant columnar arrangement by Craig Wollam that reminds one of many Washington, D.C. locations. Costumes by Zoey Green are understated and at times elegant. Lighting by Sean Begley helps focus the attention in the scenes. The cast does generally solid acting, with standout performances of Amber Wolfe as Ruby, the only Grenadian we get to know, Kelly Kitchens as Patricia the press secretary, and Scott Plusquellec as Senator Eddie, the conflicted center of the play. Austin Farwell plays Eddie's corrupted son, Alex, with a chill that makes it hard to believe that he was ever the "good" son he was corrupted from. Seattle Public Theater has a political focus, helping us think about how the past influences the future and, in this play, how politics from 1983 are like politics as usual in 2007. For more information, go to www.seattlepublictheater.org or call 206-524-1300. To comment on the review, write sgncritic@gmail.com. |
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