Dance in Review

Scapegoat; Or (Why the Devil Always Loved Us) a satirical political drama now playing at the Den Theatre, takes the audience on a wild ride through a rather unusual family affair. But the play rapidly bogs down with its own complexity.

The curtain rises mid-action, and we gradually piece together that the six members of the Porter family are career politicians: patriarch Senator Anse Porter and his son, Congressman Coyote “Coy” Porter, represent Ohio as Democrats. The Senator’s Chief of Staff John Schuler is married to his daughter Leza, who is in the final weeks of her pregnancy. Matriarch Eleanor Porter and the Senator’s adopted daughter Margaret, are lobbyists for the United American Muslims.

The plot centers on the passage of a bill that would favor Christianity over other religions in the U.S. This bill is supported by Congressman Coy Porter, who is courted by the Religious Freedom Caucus, comprised of three Republican Senators: Frank Mason, Texas; Mary Colbourn, Illinois; and Perry Allen, Arizona.

Plans go awry when Congressman Porter’s father Anse, the senator, is outed as a Satanic Priest. He decides he will filibuster the bill. To dissuade him, so the bill can pass, the Religious Freedom Caucus hints they will award him a judgeship.

While it took a while to figure out what was going on, once I did, I loved the concept. And the play delivers some strong social commentary on religious freedom – a topic of great social currency. It also  scores some comedic points – Senator Porter delivers a complete Black Mass in downstage while the political drama unfolds upstage in convincingly delivered press conferences.

Jeffrey Freelon Jr. gives a strong performance as the put-upon Chief of Staff John Schuler. Likewise for Echaka Agba (Margaret), John Kelly Connolly (Frank), Barbara Figgins (Eleanor Porter), Jack McCabe (Perry), Cassidy Slaughter-Mason (Leza), Kelli Strickland (Mary) and Norm Woodel (Anse).

Scapegoat is needlessly layered, starting with its grammatically suspect title, through characters whose background and details have little bearing on the main action on stage: That Margaret is the Senator’s adopted daughter is revealed in the second act – along with the fact that she chose to keep her birth mother’s last name (so she is Okafor-Porter). So? Coy Porter is widowed, and occasionally has seizures. Um, did we need to know that? This made Evan Linder’s job playing Coy a challenge, but he rose to it.

Scapegoat is by and large a sentimental comedy. The script by Connor McNamara, a Chicago actor, brought to mind those fast-paced 1930’s screwball comedies loaded with mayhem. But the play is probably closer to You Can't Take It With You, George S. Kaufman and Moss Hart’s 1936 Pulitzer prize-winning satire. 

There are some rich moments here: Deciding to filibuster anyway, Anse reads chapter and verse from the satanic scriptures, driving the believing Caucus senators from the chamber floor. This intelligent script which renders the political processes and dynamics with veracity, is, is fast paced and strong at its core. The direction by Kristina Valada-Viars is very well done. Scapegoat plays through May 7. www.thenewcolony.org

Published in Theatre in Review

I was a "psychonaut librarian” as a child without even knowing it. My grandparents’ house was only two blocks from the beautifully built, stunning Coral Gables Library in South Miami, Florida.

 

I spent all my spare time there, drinking in the smell of library books and wisdom. Each new book I read seemed to open a new world for me. First, they were fantasy worlds, like The Phantom Tollbooth, later I began to read more and more about psychology and self-help, each time hoping that the book in my hands would offer an insight into having the happy, successful dreamy life I imagined lay ahead.  Yes, I was a shy, gentle book nerd, and I felt often that reading was the answer to all my problems. 

 

Sean Kelly's "Psychonaut Librarians", now in a world premiere with The New Colony is a funny, delightful poetically phrased tale about a mother and daughter and their fellow book worm friends discovering magical worlds at the library. 

 

Librarian Hester, played with both warmth and biting wit by David Cerda (Artistic Director of the hugely popular campy Hell in a Handbag Productions), is trying to save her daughter Jane (Christine Mayland Perkins) from giving up on her dreams and into society's constant fear creating machine. Hester a single mother to Jane, greets her with the single revealing question about her ex, "How is Daddy? Still suffocatingly small-minded?".

 

Hester has developed a potion that allows her to go all the way into the fantasy world of reading into a place she calls "Anyverse" where anything can happen and dreams do not die without a fight. 

 

Hester shares the potion with her grown daughter one night and while in the Anyverse Jane meets a lover named Dewey, played with much joy by Matt Farabee, a handsome Christ-like figure of love and innocence.  

 

In each other's arms Jane finds true love. They dance and fly through the Anyverse on a beautifully lit, ever changing, yet intimate, stage. Dewey tells Jane the ultimate romantic verse, "{In Jane) I found what I did not even know I was looking for and in finding her, I found myself," Jane stares into his loving, smiling face and states that this meeting is one of the "perfect moments” that she will add to her sadly short list of perfect moments. 

 

But of course, as in "real" life, the enjoyment of freedom of life and love in the Anyverse is threatened by an evil force called The Sandman played with the proper amount of military, know it all, fear inducing power by Jack McCabe.

 

The Sandman has the ability to literally suck the soul out of each human by drawing out their worst fears and causing them to act on them instead of holding fast to positive thinking. 

 

Despite their obviously great and perfect matching Dewey flip flops helplessly from loving adoration to murderous hatred for Jane in an instant and begins to strangle Jane each time The Sandman makes him insecure about her love by sending him negative subconscious suggestions. 

 

Jane's mother Hester sees this pattern of abuse and danger to her daughter and makes the ultimate sacrifice by chasing the Sandman away with the promise that she will not ALLOW her daughter to awaken from the dreary, fear filled thought patterns of everyday earth "reality" into the Anyverse ...ever again. 

 

When Jane is awakened from the Anyverse by her mother and is forced to part with Dewey, Jane becomes bitter about life and retreats from taking chances, creativity, or really falling in love and trying new things to follow the strict societal mores dictated by The Sandman about choosing work and security above joyous spontaneity.

 

Sadly, this division leads Jane to become estranged from her own loving, creative mother and the library itself, a symbol of the power of imagination - for 20 years.

 

Jane is inexplicably drawn to the library on the eve of her mother's retirement, where Hester’s fellow Psychonaut Librarians have arranged a "potion" party to enter the Anyverse all together. 

 

Hester's fellow librarians, the stiff-necked Emmerick (Michael Peters) and hopeful, brainy free spirit, Rosemary (Morgan McNaught) and the library's "security guy" (Carlos Olmedo), who also ends up drinking the spiked punch, are all played with excellent comic timing, and their scenes are some of the funniest and most clever dialogue in the show. 

 

This hopeful, desperate for magic crew of psychonauts enter the Anyverse together and immediately each is tested by the dreams, or rather nightmares, of their own worst fears of failure.

 

There are puppets used to represent the fearful dreams and perfected in a clever bit where the puppets are used to represent the characters’ abilities to walk through walls or make themselves small enough to escape a demon dream through a crack in a solid wall. Hester makes a great sacrifice to help rescue them all. 

 

The great thing is that each character, no matter how weak their "punches or kicks' may be, are forced to physically take a stand and fight! Each character must really wrestle and fight to defeat their bad dreams and thought patterns. 

 

In the end, Jane returns to the library without her lover Dewey - but with a newfound belief in the power of magic, and the existence of magic itself. Magic that is ALIVE right there alongside her in the library of life - and the reality of alternate positive realms, exciting realities beyond her own. 

 

Director Krissy Vanderwarker does the best she can on a limited budget to create a romantic pacing and lovely, magical choreography for Jane and Dewey that transitions well into the more comical present day or fantasy scenes. 

 

Kelly's script has gone thru many cuts over the years but is approaching a more perfect balance between what is both a supernatural love story and an "Universal" love story that boldly, yet sensitively, declares the existence of an alternate reality based entirely on love. 

 

The line, "I found what I did not even know I was looking for!  And in finding her, I found myself" kept haunting me after the show ended, as did several of the poetic speeches delivered by Jane to Dewey while sharing flowing descriptions of the deliciousness of their loving, soaring, literally "flying" in each other's arms new love... in words. These scenes were very well written and sometimes seemed like they belonged in an entirely different show. 

 

The character of Dewey, with his shoulder length dirty blonde hair, casual hoody, sandals and all-encompassing smile is best interpreted as a Christ figure, a non-sexual person, a teacher and guru of unconditional love living forever in the Anyverse. Dewey was not supposed to become a human man whose sexual partnership in the "real" world or like a Prince in a fairy tale whose marriage to Jane would effortlessly make her life into an adventure or positivity and magic. 

 

The playwright makes it clear to the end that the daily decision to hold tightly to and fight for her own dreams is up to Jane herself, which is as it should be.

 

Before the show began, the artistic director came out and mentioned how MANY scripts they have been receiving as of late, eluding to the election of Trump (The Sandman himself?), from new writers and how EAGER artists now are to have their words HEARD.

 

I highly recommend this funny, romantic, hopeful show for audiences of any age. “Psychonaut Librarians” would also make a valuable children's theater piece.

 

"Your soul is not living inside your body; your body is living inside your soul.” 

 

For heart weary adult Democrats like myself who are literally praying for a magical happy ending to what appears to be a complete takeover of millions of American minds by the evil Sandman, “Psychonaut Librarians” offered me a wonderful evening of hope, encouragement and rainbow lit entertainment. 

 

New Colony’s “Psychonaut Librarians” is playing at Den Theatre through February 12th. For more show information of to purchase tickets, click here

 

Published in Theatre in Review

 

 

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