Theater Review: Grace

Michael Shannon, Kate Arrington, Paul Rudd and Ed Asner. Photo: (c) Joan Marcus

Not Much New Here. Just Some More Stereotypical Christians Who Don't Get it
By Lauren Yarger
Before I went to see Craig Wright's play, Grace, on Broadway, I commented that I had seen few depictions of Christian characters on stage who were grounded in faith while still being likable. More often, we are portrayed as being:
1) fanatic/ zealots
2) weakminded/ stupid/brainwashed
3) uptight/repressed homosexuals
4) Republicans (who also can be any or all of the rest of these too)
5) Racist/sexist
6) gunloving
7) Self righteous
8) hypocritical

Grace covers 1, 2, 5, 6, 7 and 8. But before you get upset, understand that the point of the play is to dismiss Christianity -- or any organized religion or defined God for that matter -- as the source of human ability to love or forgive. Having caring Christians who act like Jesus wouldn't bring about that result, so the stereotype is needed.

The Christians in question here are Steve (Paul Rudd of the movie "Knocked Up" and TV's “Friends”) and Sara (Kate Arrington). They have just moved to Florida from Minnesota where they were active in their evangelical church and ran a hotel renovation company. They are there to start a chain of "gospel-themed hotels" called Crossroads Inns: "Every one with a sanctuary. Baptismal pool. Jungle gym . . . . High speed Internet. Videoconferencing. Promise Keepers strength training. Full-on Gospel hotels. 'Where Would Jesus stay?'" (There's the zealot -- and the weakminded part -- The Holy Land Experience right there in Florida had its share of trouble making a go of it and Christian camps across the nation can't make ends meet. Whatever would make him think this was a viable idea?)

Oh, that's right, God ordained it, he says.

Steve met an investor from Zurich through a Promise Keepers contact (that must be God's will!) who put up $10,000 to locate a property, but for some reason, the mysterious Mr. Himmelman didn't follow through on sending the $9 million needed to complete the purchase from the bank and Steve, whose name is on the LLC, was forced to use his own money from the sale of their home in Minnesota. (there's the stupid part). Sara, being a woman who blasts Christian music on the radio and lifts her arms when praying is more interested in when they can have a baby.

Meanwhile, Steve takes time from his worries to aggressively share his faith with Karl (a delightful Ed Asner), an exterminator who has dropped in to treat their apartment even though he repeatedly makes it clear that he isn't interested in hearing what the "Jesus freaks" have to say (there's the fanatic part). In Nazi Germany, Karl's father, a man of faith, insisted that they help hide Jews. He and his family endured unspeakable horrors and Karl was forced to rape his young Jewish friend, Rachel.

"Ever since then, I know two things for sure," Karl says. "I know there’s no God. There’s no one watching the world, or keeping anything from happening. And, worse, I know my father is a fool. He is someone who makes himself foolish living for a lie – like you."

Meanwhile, the couple learns details about their mysterious NASA scientist neighbor, Sam (Michael Shannon  "Revolutionary Road", “Boardwalk Empire”), whose scarred face is hidden by a mask following a car accident in which his fiancee died. Sara's first attempts to be neighborly are met with hostility, but her persistence wins out and she and Sam become friends. He is able to open up to her about his fiancee and his guilt over the accident. Their relationship gives Steve an opportunity to ask Sam to invest in the hotel scheme  -- and to share his faith.

Sam also isn't interested in "people who suck money and life out of other people in the name of some idea about God that isn’t true."

Steve works himself up into such a lather telling Sam what he needs and why he really is just angry at God that Sam takes back his investment (there's the self righteous part).

As Sara distances herself from an increasingly irritable Steve, who has developed an unexplained itch, she is able to lead Sam to a prayer of faith. Steve now decides God wants them to return to Minnesota (here's the hypocritical part) and even uses scriptures demanding that a wife submit to her husband's will (there's the sexist part) to force her to move back with him. It's too late, though. She and Sam have fallen in love and tragedy ensues (I won't list a spoiler here, but let's just say this is where the gun-loving part comes in).

Meanwhile, Karl discovers the "true" definition of faith and grace when he meets up again with Rachel.

I tried to extend some grace to where this story might take us -- Wright (Mistakes Were Made, Recent Tragic Events, “Six Feet Under”) has some religious ties in his background -- but overall, there just wasn't enough of a new take on the old "Christianity/God doesn't work" theme to keep me interested. In addition, the action takes place on one set for both apartments and Director Dexter Bullard wasn't able to get across why this was so. The explanation for both existences occurring simultaneously in the same space comes, perhaps best, from this conversation:

Sam: Space is a tremendous distance that you have to get information across in time. That’s the problem with space.

Steve: Time.

Sam: Yes. How can we know what we need to know…in time – when what we need to know has to come from so far away.

Steve: How can you?
Sam: You can’t. Ultimately. Not completely. You can’t.

Set designer Beowolf Boritt creates a backdrop that shows celestial clouds and stars in space to try to blend the science/faith ideas, but the staging doesn't work. An actor walks in a door frame from what is supposed to be one apartment, then another actor exits the other apartment through the same door. Audience members audibly asked each other what was happening and even gasped when someone came through what they thought was the wrong door at an inappropriate time. In addition, some sequences are done in a "rewind-the-action" fashion without making clear why we are seeing the events this way.

Also, it's not clear how much time has passed. The opening scene telegraphs the ending so not much comes as a surprise in between. At times, crickets are chirping in a significant way (Darron L. West, sound design) but what it meant was lost on me, I must admit.

The Christian stereotypes bothered me after a while too, because while I understand the need for them to be able to tell this story, they just don't stand up. At one point Steve shares about the moment when he became a Christian by feeling something while gazing at stars. Let's just say that it doesn't sound like any "testimony" I have ever heard that wouldn't have come under scrutiny at their evangelical church back there in Minnesota. He likely wouldn't be able to share the specifics of the gospel without realizing that his own "conversion" seems to be lacking the necessary ingredients for salvation. Even if he were able to, wouldn't his wife notice the problem?

Are there Christian women who believe it is God's will for them to blindly obey their husbands? You bet, but they are unlikely to spend a lot of time day after day alone next door in the apartment of a man not their husband. When Sam points out their growing attraction and tells her not to come any more because he can't control where it might lead, Sara refuses to stop seeing him saying that their being together can't be bad because it feels so right. Then they become sexually involved. None of this sounds like any of the Ephesians 5-spewing women I know.

The Christian pop song "He Reigns" is played at the beginning and end of this play -- I could have suggested some better mindless praise songs to fit the mood. But I'll extend some grace. Grace received three LA Drama Critics Circle Awards including Best Play when it was presented at the Pasadena Playhouse. This production, with an updated script, marks its New York Premiere and Broadway debuts for Wright, Bullard and Shannon.

Here's hoping that we soon can enjoy another wonderful Christian character on stage like Abebe in A Cool Dip in the Barren Saharan Crick by Kia Corthron. We're not all weakminded, uptight, sexist, racist fanatics who love guns, vote Republican and force our religion down people's throats while repressing our homosexual desires, after all.

 Grace plays a limited engagement at the Cort Theatre, 138 West 48th St., NYC through Jan. 6, 2012.
Tickets: (212) 239-6200.

Christians might also like to know:
--Language
--God's name taken in vain
--Adultery
--Suicide

Other information:
A talkback event on Oct. 24 will feature Dr. Michael Brown of the Marble Collegiate Church NYC (home of Dr. Norman Vincent Peale's "The Power of Positive Thinking"), who consulted on Grace during the rehearsal process, and Ron William Walden, the Assistant Director of the MPS Program for Development and Academic Assessment at the NY Theological Seminary, will discuss the issues of faith and religion that are explored in the play directly following the evening performance.

Quiara Hudes, Barbara Walsh on Tap at O'Neill Event Tonight

The National Playwrights Conference and the National Music Theater Conference, programs of the Eugene O’Neill Theater Center, will be the focus of an evening at the Martin E. Segal Theatre Center at the City University of New York. The event, on Monday, October 15th, is free and open to the public and begins at 6:30 pm at the Martin E. Segal Theater Center at 365 Fifth Ave., New York.

The evening, “The O’Neill Center: A Safe Haven for Playwrights,” will welcome Pulitzer Prize-winner Quiara Hudes (Water by the Spoonful, In the Heights), Tony Award nominee Barbara Walsh (Company, Falsettos), and other artists associated with the O’Neill. The event will feature readings from plays and musicals recently developed there and reflections on the O’Neill’s storied past. Wendy C. Goldberg, Artistic Director of the O’Neill’s National Playwrights Conference, and Paulette Haupt, Artistic Director of the O’Neill’s National Music Theater Conference, will discuss upcoming programs, submission information, and the O’Neill’s plans for the future. Moderated by Helen Shaw.

The O’Neill is currently accepting scripts for development during the 2013 National Playwrights Conference. Applicants may submit works to the O’Neill’s Open Submissions Process through Friday, Oct. 26, 2012. The 2013 National Music Theater Conference will be accepting applications from Nov.1 through Dec., 2012.

Visit http://www.theoneill.org/summer-conferences for application and guidelines. Direct any questions about the conferences to Anne G. Morgan, Literary Manager at (860) 443-5378 ext. 227 or email litoffice@theoneill.org.

Win Two Tickets to Peter & the Starcatcher

We have a a great promotion for you to see the really terrific Peter & the Starcatcher before it ends its Broadway run in January.

Simply send an email to masterworkproductions@yahoo.com telling us why you'd like to see the show (put STARCATCHER in the subject line) with your name, mailing address and FAX number (US only) and you will be entered in a drawing for a voucher for two tickets to the show before Nov. 9.

Entries will be accepted Wednesday, Oct. 9, 2012 through midnight (Eastern time) Friday, Oct. 12, 2012. The winner will be contacted on Saturday, Oct. 13.

http://reflectionsinthelight.blogspot.com/2012/04/theater-review-peter-and-starcatcher.html.

Voices United Benefits Actors Chapel Ministries

The Actors Chapel will present a star–studded musical extravaganza with The Voices United Choral Festival on Monday, Nov.12 at 7:30 pm at NY’s legendary Beacon Theatre (2124 Broadway at West 74th St.)

More than 600 performers will gather under the direction of the internationally celebrated conductor Eric Knapp with the evening being hosted by famed author Raymond Arroyo and featuring special performances by Broadway’s Ryan Silverman (more to be announced). Voices United will benefit the outreach ministries of The Actor's Chapel, as well as charities such as Covenant House New York.

Voices United was founded by St. Malachy’s – The Actors’ Chapel in the heart of the Broadway Community. This festival joins voices from New York City, North America, and abroad in a program of benevolence and goodwill to people of many faiths and cultures. This year’s unique concert experience will feature young metropolitan-area musicians singing in a festival chorus along with a top-rate orchestra and conga ensemble.

The program will include "Hope for Resolution” by Caldwell Ivory, as well as other performances.
The evening will feature performers from many tri-state area choirs, including The Choir at St. Malachy’s, Connecticut Choral Society, and New Jersey Choral Society and others.

The evening will also celebrate two dedicated leaders, Fr. Benedict J. Groeschel CFR, recipient of The Father George Moore Award – Religious Leader Award, and David Higgs, who will receive The Paul Creston Award.

Groeschel is the director of the Office of Spiritual Development of the Archdiocese of New York. He has authored many books and recordings on spirituality and is familiar to television audiences from EWTN Sunday Night Prime Time. Higgs, one of America’s leading concert organists, is chair of the Organ Department at Eastman School of Music and is highly regarded as a recitalist, recording artist, educator and adjudicator of major competitions worldwide.

Tickets are: $25, $50 $75, $125 & $250 (VIP includes pre-show VIP Cocktail reception) and are available at www.Ticketmaster.com.

New Play Offers Tribute to Vets

Developed from Conversations with 40+ Returning Vets from Iraq, Afghanistan

 

The performance piece Cadence: Home offers an intimate, honest and compassionate entry into the world of four veterans returning to New York from the wars in Iraq and Afghanistan. This is a site-specific theatrical experience at Manhattan’s Metro Baptist Church, as the audience is invited to a memorial for Scott Matthews, a character based on a real man, a soldier who died in Afghanistan. It begins and ends with his memorial. Cadence: Home is a tribute to all of the men and woman who served, both those who made it home and those who did not.

In honor of Veterans Day it will be presented at 7 pm Nov. 7-10 and Nov. 14-17 at Metro Baptist Church 410 W. 40th St. NYC. The price is $18 general/ $15 for veterans. Group rates available. To purchase tickets, visit cadencehome.brownpapertickets.com. For more information, visit www.teaproject.com.

Cadence: Home was developed over nearly two years from Insight conversations with more than 40 returning vets – learning about their decisions, their fears, their hopes and their dreams. Guided by the Insight approach to documentary-style theatre, this theatrical experience helps close the gaps in understanding and compassion that divide military and nonmilitary civilians from each other through the dramatic insight of the performing arts.

The show considers several questions: What do we lose on the home front when friends and lovers go to war, and how do we replace "that?" And how do we make room for change – can we make room for change – when they come back?

Cadence: Home, which features live music, follows the inner journeys and outer struggles of four veterans, recently returned from Iraq and Afghanistan, who are trying to reestablish their lives and their relationships with their loved ones. One event affects and connects them all, the death of Scott Matthews, a marine killed in Afghanistan through an act of his own heroism. The prospect of a memorial service to commemorate the one-year anniversary of Scott’s death alerts these characters to the reality that they have not yet found either ease or rhythm in their postwar lives.

 

Donovan, an air force vet, longs for the relatively carefree days of high school with Scott, Nate, and Matty. .. Nate and Matty have polarizing views of Donovan's choice to join the military and his status now that he is home.... Lisette, a marine vet, needs to reconcile her experiences of trying to measure up to the "boys" in the marines before she can find her womanhood as a civilian. Austin, a marine vet, cannot be fully present with his fiancee until he faces his guilt and the accompanying ghosts.... Ethan, an army vet, must count on himself, alone, to get him back on his feet and begin to accept a loss.

With four unique-yet-connected story lines unfolding at once in this site specific theatrical space, audiences engage dramatically in the range of complicated relationships and courageous journeys of these veterans on the way to the memorial of a fallen comrade, and the discovery of the courage it takes to find their Cadence: Home.

Created and co-produced by TE’A (Theatre, Engagement and Action), the production is spearheaded by Intersections International as part of its larger effort to heal the domestic consequences of our wars in Iraq and Afghanistan by organizing events and by convening dialogues that help veterans and nonmilitary civilians bridge the gaps in understanding, recognition and affirmation that separate them from each other and divide the nation as a whole.

The original company and creators of Cadence: Home are Joseph Reese, August Dannehl, Chuk Obasi, Nalini Sharma, and Amanda Marikar.

Michael Goldfried and Stefano Brancato co-direct. Alex Gemignani* composed the music. Members of TE'A Company are Jake Robards*, August Dannehl, Chuk Obasi, Purva Bedi*, Amanda Marikar, Collin Leydon*, Karen Eilbacher and Nabil Vinas. *Equity approved Showcase.

Intersections International is a New York-based non-government organization (NGO) that works at the intersection of communities in conflict to promote peace through dialogue, using direct service programs, advocacy, educational and informational outreach. Founded in 2007, Intersections is a multicultural initiative of the Collegiate Churches of New York, the oldest corporation in North America, dating back to 1628.

Using arts immersion, social marketing, intentional dialogue and other innovative methods, Intersections' work includes projects that promote pluralism in emerging democracies, eradicate ignorance regarding Islam, nurture global peacemakers, and initiate conversation among disparate groups to develop new ways of problem-solving for some of society's most intractable issues.

Since 2008, Intersections has conducted numerous Veteran-Civilian Dialogues, three-hour live events with equal numbers of veterans and civilians in facilitated conversations around the impact of war upon both groups. Two will be conducted in conjunction with Cadence: Home. These free gatherings will be held at 6 p.m. Nov. 12 at Intersections, 274 Fifth Ave. (between 29th and 30th Streets) and 6 p.m. Nov. 19 at John Jay College. Reservations are required: RSVP@Intersectionsinternational.org, attention Elaine.

The TE’A Project, founded in 2009 by Radha Kramer, integrates documentary-style interactive theatre with the “insight approach” to conflict mitigation and transformation, a recent development in the field inspired by the thought of Canadian philosopher Bernard Lonergan. The insight approach places careful attention to the roles played by our inner capacities for feeling, thinking and meaning-making when we lock ourselves into conflicts with other people — as well as the roles they play when we transform those conflicts. The TE’A Project dramatizes this performance on stage.

Theater Review: An Enemy of the People

An Amazingly Contemporary Ibsen Play on Age-Old Politics and Human Nature
By Lauren Yarger
What's more important, the public's right to know or the need to stimulate the economy? Don't like the facts? Change 'em. Want to keep religion out of the schools? Curb free speech. Don't want the public to hear what your opponent has to say? Smear him, charge "class warfare" and make sure the press is on your side.

If this all sounds like today's political headlines, think again. It is the makeup of Henrik Ibsen's 1882 play An Enemy of the People in a sharply updated Broadway version (by Rebecca Lenkiewicz) produced by Manhattan Theatre Club. Doug Hughes directs Boyd Gaines and Richard Thomas in a fast-paced psychological thriller.

Dr. Thomas Stockmann (Gaines) has made an astonishing discovery. The baths, from which his coastal town in Norway derives economic prosperity as tourists come seeking a healthy spa experience, actually are toxic. It seems that the pipes carrying the water to the baths were not buried deeply enough -- despite Thomas' warnings in the first place -- and now pollution from the tannery owned by his testy father-in-law, Morten Kiil (Michael Sieberry), is making the waters a death trap.

Thomas is championed as a hero for making the discovery by his wife, Catherine (Kathleen McNenny), free-thinking daughter, Petra (Maite Alina), and a few others who know about his work. Hovstad (John Procaccino), publisher of the town's paper, immediately sets printer Aslaksen (a drole Gerry Bamman) into action to put Thomas' report into print so everyone can be warned.

"To have the respect of one's fellow man -- it's beautiful," Thomas says as he ponders what kind of parade the town might choose to honor him.

Thomas' brother, Peter (Richard Thomas), however, has a different idea: bury the report. As the mayor -- he wears that hat proudly and literally -- he is more concerned with the economic impact a health scare will have on the tourists coming to use the baths and spend money in the town. His concerns start to win over supporters among the townspeople, especially when the staggering cost -- and the necessary tax hike to fund it -- to relay the pipes becomes apparent. Peter questions the findings in Thomas' report and successfully creates diversions to keep anyone from remembering that it was Peter  who advocated for the design shortcut over Thomas' objections in the first place.

In a flood of self preservation, the townspeople swiftly turn on Thomas. A river of hate washes away any the public hero and he is labeled, instead, an enemy of the people. Beyond the genuinely interesting plot and obvious similarities to current political techniques to boost approval ratings and polls, there's a deeper psychological study taking place that keeps us guessing about who the heroes and enemies really are and what motivates their actions until the very end.

Gaines gives a layered performance as the man who goes from trying to be humble at the thought of friends honoring him at the head of a parade to fearing that he'll be run out out of town by a bloodthirsty mob. His boisterous turn is nicely balanced by Richard Thomas as this priggish, power hungry, uncaring brother who sees himself as the "moral guardian" of everyone but himself.

Standing out from the ensemble is James Waterston as Billing, a reporter at the paper who amuses as he offers screaming support and enthusiasm  (think that Jingos!™ cracker commercial) then switches to venomous opponent.

Hughes successfully breaks down the fourth wall to create a feeling that the audience is part of the "liberal majority." Actors leave John Lee Beatty's set to stroll through the house at times with transitions aided by and lighting (Ben Stanton, design) and music (original music and sound design by David Van Tieghem). In fact, when one audience member sneezed, Gaines said "bless you" in a way that seemed a natural part of the script.

An Enemy of the People plays a limited run at The Samuel J. Friedman Theatre, 261 West 47^th St., NYC through Nov. 11  Tickets/info: http://www.manhattantheatreclub.com/ 

Christians might also like to know:
-- Lord’s name taken in vain

Freud Gets a Session in Los Angeles

 Martin Rayner and Mark H. Dold in the Off-Broadway production. Photo: Kevin Sprague

Freud's Last Session, New York’s long-running hit play by Mark St. Germain, is set to open in Los Angeles this winter starring Judd Hirsch as Sigmund Freud and Tom Cavanagh as C. S. Lewis under the direction of Tyler Marchant, who helmed the original New York production.

Presented by The Broad Stage and CRC Productions, Freud's Last Session will begin performances Jan. 11 for a strictly limited engagement through Feb. 10 at The Broad Stage in Santa Monica.

The Off-Broadway premiere engagement of Freud's Last Session received good reviews (read our review here) and had a two-year run. The show is also currently playing to sold-out houses at Chicago’s Mercury Theatre as well as in Buenos Aires, Stockholm and Dallas. Additional productions are set to open this season in London, Mexico City, Sydney, Madrid, Sao Paulo, Singapore, Copenhagen, Philadelphia, Phoenix, Cleveland, Tucson, and Honolulu. Freud's Last Sessionwas produced Off-Broadway by Carolyn Rossi Copeland, Robert Stillman and Jack Thomas.

The play centers on legendary psychoanalyst Dr. Sigmund Freud, who invites the young, rising academic star C. S. Lewis to his home in London. Lewis, expecting to be called on the carpet for satirizing Freud in a recent book, soon realizes Freud has a much more significant agenda.

On the day England enters World War II, Freud and Lewis clash on the existence of God, love, sex, and the meaning of life – only two weeks before Freud chooses to take his own. Not just a powerful debate, this is a profound and deeply touching play about two men who boldly addressed the greatest questions of all time. Mark St. Germain’s celebrated new play was suggested by the bestselling book The Question of God by Harvard’s Dr. Armand M. Nicholi, Jr. 

Performance schedule: Tuesday through Friday evenings at 7:30, Saturdays at 4  and 8 pm and Sundays at 1 and 5 pm. The running time is 84 minutes with no intermission. Tickets are available at www.TheBroadStage.com or by calling 310-434-3200. The Broad Stage is located at 1310 11^th St. inside the Santa Monica College Performing Arts Center. Parking is free.