ARTS NET, Tampa Bay*

In 1997, David Mamet’s script “Wag The Dog” hit the scene, generally lampooning politics.  A decade later, he did it again with his play “November.”  This time, Mamet zeroed-in on the presidency.  The play premiered in New York in January of 2008 to lukewarm reviews.  Perhaps the reviewers missed the play’s socio-political message (or perhaps reviewers then did not want to acknowledge the heady subtext).  On the surface, we have simplistic slapstick-style one-liners.  Deeper down, we experience the flavor of corruption incumbent to high office.

Perhaps the political landscape has changed in the two years since the play premiered.  Perhaps not.  How would we truly know?  What really happens to people in positions of power has been the subject of debate for centuries.  This little play ambitiously attempts to profile a potentially lame-duck president vacillating between simply giving up because of waning numbers in the polls and running for re-election, while navigating through (and occasionally yielding to) the visceral temptations inherent to his high position; all contained in an hour and a half (including an intermission).

The Wednesday, June 9 performance was well-attended; surprisingly to a crowd that was, shall we say, predominately senior.  (For a Mamet play, I would have expected a generally younger crowd of mostly college-aged adults.)   Observing the audience reaction, my friend and I discussed the possibility that many in the audience did not get some of the better political barbs (that, or they simply did not react to them for some reason).  There is always the possibility that Mamet is simply lost on some audiences.  The play itself feels as though it could be set in any post industrial revolution decade, while remaining sufficiently true and relevant.  Some of the hot-button issues are quite contemporary but could easily be plugged-in to 50 years in the past.  Change hairstyles and clothing, and you could almost set the play in the 1950s.  Change the backdrop and it may be directly relevant to some countries in the developing world 50 years from now.

Michael Edwards, a stage actor with an impressive resume, plays President Charles Smith, our anti-hero.  He looks the part, acts the part, and has the appropriate presence.  His comedic timing is great!  Nevermind that he blew a line or two during the performance… he recovered well and completely, and most in the audience likely did not notice.  (The actor seemed to be distracted that evening but it did not significantly affect his character portrayal.)  Good bit of casting and good execution.

Wayne LeGette plays Archer Brown, the President’s Chief Aide.  Flawless and believable.  The humor in his portrayal feels, appropriately, almost accidental.

Sarah Gavitt plays Clarice Bernstein, the President’s trusted speechwriter.  Her portrayal was oddly reminiscent of Peggy Cass as Agnes Gooch in the movie “Auntie Mame.”  She’s a kick!

Christopher Rutherford plays the representative of, what we can summarize for the benefit of brevity as, the “turkey lobby.”  His portrayal aptly fits the requirements for the role:  Awkward, paranoid, agitated, righteously indignant, and easily intimidated.  The type of character who really only exists in theater but fun.

Giles Davies has the unpleasant task of performing the ill-conceived role of a stereotypical Native American,  in absurd costume no less, reminiscent of The Lone Ranger series from the 1950s.  I was uncomfortable from the moment he appeared onstage until the end of the play.  Such a role normally calls for an actor to appreciate the absurdity of such a stereotypical character and give an equally broad caricature performance.  Although his costume is appropriate (buckskin, moccasins, beads, and a feathered hat), his portrayal is simply too reserved for the character to work.  For the record, my perspective is not necessarily the actor’s fault.  I fully understand what the character represents in the context of the play but I regret that Mamet resorted to potentially-insulting  cultural stereotypes to convey his message.  I kept expecting the character to break into a rain dance or issue a war cry.  (Wait… he did issue a war cry!)  The actor is fine in the role but, to me, it was just uncomfortably not funny; a little like watching an ancient movie with Al Jolson performing in blackface.  Some things are just wrong, and there is no way for the actor to win in this instance.

Lots of F-bombs in the dialog, and many adult situations.  Consider keeping the kids and the overly-sensitive at home.

American Stage did an admirable job with this production, elegant in its simplicity.  With the exception of the last scene with the absurd portrayal of the “Indian,” I even enjoyed the play itself!

November plays all during June and into July in St. Petersburg.  Do not be confused.  Simply go to the American Stage website at http://americanstage.org for more information.