By Christian Viveros-Faun√©
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
You remember the anecdote about Sir Thomas Beecham rehearsing Handel's Messiah. The women's chorus had just started on "For unto us a child is born," when the famously sharp-tongued conductor rapped his baton and said, "A little more enthusiasm, please, ladiesand not quite so much astonishment." I often think how right he was as I witness the birth of a new play. Astonishment, which is what Diaghilev demanded from Cocteau, may be necessary to juice up a jaded Parisian palate, but America is still fairly young in art: When our cultural offspring turn out to be living and delightful, we should welcome the event as natural to us, and not stand awestruck by it. The challenge for the theater, as for the ladies of Beecham's chorale, is to greet the everyday miracle of a new life freshly, without having to be shocked into appreciation: just a little more enthusiasm, please, and not quite so much astonishment.
John Guare's A Few Stout Individuals is precisely the kind of good new play that you might call an everyday miracle. It doesn't break any new ground, but every minute of it is fresh and newly alive; it doesn't extend the boundaries of the theater, but it makes the theater an exciting and vivid place to be, a place of delight. If you know Guare's preoccupations, or the literature and history of the play's era, you will find many familiar landmarks. But in the theater, space and time are easily remapped, and part of the delight here is to see the familiar landmarks crop up in unexpected places. After a disheartening year of non-plays, half-plays, and why'd-they-bother plays, with only a few gratifying exceptions, a B-12 infusion like this is indeed something to be pleased aboutall the more given the haphazardness of Guare's own most recent efforts: The debt he incurred by making audiences sit through Lake Hollywood and Chaucer in Rome is hereby paid in full.
Ulysses S. Grant, Guare's hero, is likewise a man who honors his debtsan astonishing figure to put center stage in the era of Enron. The year is 1885. Bilked of his fortune by a shady speculator who has since gone to Sing Sing, the retired general and ex-president, dying of throat cancer and nearly immobilized by a hip injury, sits in a Fifth Avenue brownstone that's been stripped bare in his effort to pay back the investors he's bankrupted. Though empty of furnishings, his room is still jammed with needy family members, gate-crashers who want to trade on his celebrity, and an assortment of eminences, real or recollected, that includes the Emperor and Empress of Japan, the opera superstar Adelina Patti, and Samuel Clemens, more familiar under his nom de plume of Mark Twain. The last, also temporarily near the end of his financial rope, is in the process of coaxing out of Grant the two volumes of memoirs that Clemens has contracted to publish, and that will ultimately make both men enormously rich (though Clemens, inevitably, will lose his share to another lousy investment).
Long Island Sound
By NoŽl Coward
American Theatre of Actors
314 West 54th Street
Getting the two volumes out of Grant, though, is no easy task. In addition to the unending madcap trek of visitors, old "Unconditional Surrender" is kept on a steady regime of low-level opiates by his doting wife Julia, who thinks she can alleviate the nation's pain as well as her spouse's by omitting all unpleasantness from this memoir of one of the bloodiest wars ever fought. Badeau, the pompous secretary Clemens has installed in the house, despises both Mrs. Grant's female fussiness and Twain's salty style; he wants the General's book to ring with an empty dignity that might please Matthew Arnold. One way or another, everyone else is plotting to trade on the General's name and place in history; even the sculptor hovering at the door has plans for marketing copies of his death mask.
Apart from Mrs. Grantand the Japanese royalty, who exist only in Grant's drug-triggered memories of his trip to Tokyothe lone person onstage who's not interested in exploiting Grant's celebrity is his manservant, Harrison, a Union veteran of color who has his own nightmarish recollections of the war, and wants Grant's truth to be the whole truth about it. The play's farcical goings-on may be purest New Yorkit often seems like a tragic analogue to Room Service or You Can't Take It With Youbut its thematic poles are Tokyo, where the Grants were saluted as superheroes on their post-presidential visit, and Cold Harbor, where the General broke the back of the Confederate advance by the simple, and hideous, device of sacrificing more troops than either side could spare. Guare's description of this insensate battle, given to Harrison, is the most chillingly great speech to be heard on the American stage right now, and Charles Brown's speaking of it, without a single missed detail or an ounce of overplaying, is a model of eloquence that would make Demosthenes spit pebbles in envy.
But then, Michael Greif's smartly detailed and fast-flowing production is a banquet of acting, in which Brown's lustrous gravity of speech is only a side dish. The centerpiece is the solemn, perplexed mask of Donald Moffat's Grant, sullen with guilt or raging in silent indignation. The sparkling wine is Polly Holliday's Mrs. Grant, with a bitter tang under every sweet coruscation. The sauce, zesty with homegrown spices, is William Sadler's warm, rueful Sam Clemens. The extravagantly flavored stuffing is Tom McGowan's manic, high-pitched Badeau. Dashing James Yaegashi and delicate Michi Baral, as the imperial couple, keep reappearing, Oriental condiments in the midst of this American plenitude. And dessertyou could hardly call it anything elseis Cheryl Evans's droll blend of high notes and low mockery as Adelina Patti.