‘The Minutes,’ Too Close For Comfort, a WOW!
The beauty of Tracy Letts’ The Minutes, directed by Anna D. Shapiro is that there is no hearty mention of political parties in Steppenwolf’s “very American” production whose patriotic music blares as the audience takes their seats at Studio 54. The music (Andre Pluess), and the City Council’s meeting room set design (David Zinn), remind us that it is in the small towns and cities of our democratic government that the American Dream comes to fruition, as it moves toward the hope that in our country, all men and women are created equal and are guaranteed their inalienable rights stated in the Declaration of Independence as under-girded by the constitution.
During The Minutes, the veil is lifted so we may watch democracy in action, vaguely referenced by Big Cherry’s Mayor Superba (Tracey Letts). What occurs on this momentous rainy night, when the city council gathers in a quorum to conduct its business, is a bludgeoning reminder of our blind hypocrisy regarding our pretensions to democratic self- government. When uncontrollable atavistic compulsions in our natures arise and dominate the best of us, is it even possible to govern with equanimity, Lett’s and the creative team ask?
This question appears to be at the heart of Letts’ rich and profound exploration of an Everyman/Everywoman city council, one of whose members we discover toward the last twenty minutes of the play is a whistleblower. What happens to him reveals the power of what America can and should mean vs. what America is revealed to be, in its local governments which often usurp our nation’s lofty principles and subvert them into governance by raw, destructive emotions born out of traditions of fear and hatred.
The point is made that the elected officials that govern Big Cherry, the central focus of this fascinating production, are neither Republican or Democratic. Nor at first do we anticipate that this council is anything but a representative democratic institution that functions as a proper governmental council should, with an emphasis on doing what is “the best” for the constituents who elected these men and women. In addition to Mayor Superba the board members include a bi-racial, gender appropriate, non-ageist group who look to be inclusive and bring inclusive issues to the fore as presented during the meeting.
The officials include Ms. Innes (Blair Brown), Mr. Breeding (Cliff Chamberlain), Mr. Blake (K. Todd Freeman), Mr. Hanratty (Danny McCarthy), Ms. Johnson (Jessie Mueller), Ms. Matz (Sally Murphy), Mr. (Austin Pendleton), Mr. Peel (Noah Reid) and Mr. Assalone (Jeff Still). Note Letts’ clues of character with the particular, irony weighted selection of names. The names push the envelope of belief to convey the play’s sardonic tone at the beginning.
Vitally, the tone and humor increasingly morph toward revelation of the mystery of the previous week’s minutes that end in the shocking banality of evil at the play’s conclusion. As the production devolves into atavistic horror, we understand the city council’s cultural appropriation of the Sioux’s tribal dance. Incredibly open to interpretation, it symbolizes how they approach their concept of city council government. They attempt to empower themselves as warriors of their mission which they take to a radical extreme, defying the national, constitutional mandate while wickedly, hypocritically posing to uplift it.
The play drives to the heart of the dangerous atavism in this nation on both political divides without stating “Democrats” or “Republicans;” the party is not the point. Human nature is the point. Whether its book bannings, “don’t say gay,” Southern botch job of COVID as politicians and QAnon representatives scream “my body my choice,” then turn around and reverse “my body my choice” women’s rights with abortion bans, or the smear job screamed out by rabid #metoo pretense, pushing the ouster of former Governor Cuomo, equanimity and rationalism aren’t to be found.
Letts’ drives this home…revealing how the mundane often cloaks the dark, emotional abyss underneath. If only Satan sported horns, chains of diabolism and wore a name tag hailing his identity. Too often the sweetest people are the most malevolent, especially if they are working for your best interests in government. Ah, “something wicked this way comes and it’s the human heart.” BEWARE!
Without going into the specific plot points because there is no spoiler alert, at the top of the play, Letts introduces us to the EVERYMEN AND EVERYWOMEN city council members who are “average” individuals of a cross range of the “middle class.” At the outset, as they arrive, they move into their friendship groups, to elicit support from each other for their proposals that they intend to present at this evening’s meeting.
Throughout the play Mr. Peel questions what happened at the previous week’s meeting which he missed because his mother passed away. Mayor Superba and Mr. Hanratty casually dismiss Mr. Peel’s questions at the outset. However, Mr. Blake suggests that he will be rebuffed roundly and warns him that Mr. Assalone will lead the others against him so he won’t get anywhere with finding out what occurred.
Lett’s cleverly sets up the conflict focusing on what happened, why no one wants to discuss the previous meeting and what happened to Mr. Carp (Ian Barford in a profound dramatic performance) who is absent and apparently is no longer on the council. With a weird dismissal of Mr. Peel’s questions which under the law must be answered, we and Mr. Peel are set to wondering whether this is a cover-up and who and why the previous meeting cannot be easily discussed. We also wonder, along with Mr. Peel, what happened to Mr. Carp and why the duly elected official is no longer on the council. Was it Mr. Carp’s choice, Mayor Superba’s choice or the council’s choice that he left?
This relatively new council member Mr. Peel, who we discover a bit later had become friendly with Mr. Carp and supported his cause is no wiser about the circumstances as the meeting comes to order with the typical prayer and pledge of allegiance as all governmental meetings follow with sleepy, traditional protocol. Thus, we forget Mr. Peel’s questions and concern and with the demonstrated banality of what we’re familiar with, settle into regularity until Mr. Oldfield presents his case for an important consideration, an empty parking space.
Oldfield portrayed by the esteemed and wonderfully LOL, on-point Austin Pendleton conveys much of the humor in Lett’s The Minutes. In whatever he does Pendleton is a standout of authenticity and moment. Once Mr. Oldfield and his subtle request about the parking space is dismissed, the business at hand is presented.
Mr. Hanratty and Mr. Blake have their pet projects which eventually are objected to and voted down. Interestingly, the figure on the fountain that Hanratty wants to renovate gives rise to how the figure represents the foundation of the city. The members who are in the know provide the dramatic re-enactment of the mythic Battle of Mackie Creek that the figure’s heroism is dedicated to in the fountain. Only Mr. Peel is not familiar with the history of Big Cherry because it is his wife’s birthplace, not his. Thus, he does not take part and watches as Big Cherry’s history rises up from its past in a re-enactment.
All take part, even Mr. Oldfield, who provides the horse hoofs’ sounds. Their “theatrics” are humorous and the actors, as their council counterparts really ham it up appropriately to audience applause. Thus, we are reminded of such mythic re-enactments that traditionally dot the nation as harmless fun. However, the Civil War re-enactments are perhaps more than that for those who take part yearly (before COVID). Letts and the creative team call into question their significance and symbolism. To what end do those go to the trouble to show up and fight with accurate replicas of guns, cannons, outfits, and some even living on the fields for a week or more to “remember.” Curious.
Letts opens one’s eyes to conceptual meaning made physical. With regard to the Civil War, the devastation and destruction…one questions why re-enact it yearly? How can bloodshed (the greatest number of casualties in a war before COVID) and violence be fun? (Interestingly, COVID will have killed twice as many in the same time period. Thus far, there are a recorded number of US deaths at over one million twenty thousand on Worldometer in a two-year period.) However, the re-enactment is relished by the council members because it manifests glory in their history. It binds them in community and makes their lives as council members meaningful. Of course, the further symbolism and importance of this act blossoms by the conclusion.
Mr. Peel, with knowledge of what the previous meeting was about but with an inability to attend it and give support to Mr. Carp who was making a presentation, wants to discover the resolution of Mr. Carp’s petition. It is revealed in the minutes of the meeting which Mayor Superba has refused to release. However, a way is made. Eventually, in a flashback, we get to see why Mr. Peel wants to know what happened. And we also discover why Mr. Carp is no longer on the city council. The question remains with this revelation and the solving of the mystery of the minutes Mr. Peel has sought, will he stay on the council which his deceased mother never wanted him to be on in the first place?
Criticism has been made of Letts’ leaps in plot, sometimes illogical notions, etc. I would put it to those critics. This is not a play about linear logic, refined judgments and profound political moment. It is about us. and what we have to fear in ourselves. In that the play should make you weep. It won’t. It is not only about this nation, it is about human nature. In that it is timeless. Like most theater that attempts to get some of who we are down, it is irreparably flawed. Thus, it should be left as is.
Kudos to all the actors for their strong performances in this ensemble piece as well as the director who aptly shepherded them so you could hear a pin drop from the audience the last “minutes” of the play. Kudos to Ana Kuzmanic (costume design) Brian MacDevitt (lighting design), Ty Defoe (choreographer), Tom Watson (hair & wig design) and see above for the other designers mentioned.
You need to see this a couple of times to let it sift your soul, or not if you hate that kind of thing. For tickets and times go to their website: https://www.studio54theatre.com/events/the-minutes-25/#.YnLPLNPMJPY
Posted on May 4, 2022, in Broadway, NYC Theater Reviews and tagged Anna D. Shapiro, Studio 54, The Minutes, Tracy Letts. Bookmark the permalink. Leave a comment.
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