‘1776,’ The Revival Revolutionizes our Insights and Revitalizes an Appreciation for our Nation
The original Tony award-winning musical ‘1776’ with music and lyrics by Sherman Edwards and book by Peter Stone is for all time an exceptional distillation of events memorializing with artistic license the most salient moments of how the Declaration of Independence was eventually drafted and signed. With the force of a new and treasonous law established by a country that was first formed in the minds of an elite group of white, male land owners, the physical document was a presumptuous act of rebellion. Many disagreed with it. Those without property in the 13 colonies, i.e. women, Native Americans, slaves, white laborers and others, whose lives wouldn’t change much either with rule by propertied colonists or rule by King George III, most probably didn’t care.
In Jeffrey L. Page and Diane Paulus’ revival of the musical 1776 at the American Airlines Theatre, the directors revolutionize the play’s casting with inclusion of those not represented in the forging of the Declaration of Independence. As a remembrance of the excluded and an indication of “how far we’ve come culturally,” the directors cast multi-racial actors who are female, nonbinary and transgender in the roles of the white, male founders normally cast in Edwards and Stone’s 1776.
Led by the “obnoxious” John Adams portrayed by the exceptional Crystal Lucas-Perry (“Sit Down John”), 1776 begins as the Second Continental Congress, after months of delay (“Piddle, Twiddle, and Resolve”), finally gets down to confronting whether or not to declare independence from England’s King George III and establish America as a sovereign nation. Massachusetts delegate Adams encouraged by Dr. Benjamin Franklin (the wonderful, wry Patrena Murray) are continually rebuffed by British leaning colonists led by Pennsylvania’s John Dickinson (Carolee Carmello gives a powerful and nuanced performance as the opposition).
When it appears they are moving forward, it is suggested that approval must be unanimous, which John Handcock, President of the Congress (a commanding Liz Mikel) agrees with in order to prevent any of the colonies siding with England, incurring a civil war. Adams and Franklin join together with Virginia’s Thomas Jefferson (Elizabeth A. Davis) the recalcitrant author of a formal Declaration of Independence. The opposition continues with delays, though Franklin, Adams and Jefferson manage to pull in others as the typical manipulations of congress continue.
Washington’s difficulty with raising an army and keeping it equipped and fed is the bad news brought by the Courier (Salome B. Smith), as the Courier sings about soldiers dying on the battlefield while delegates listen with guilt and horror (Smith’s powerfully rendered “Momma, Look Sharp”). South Carolina’s Edward Rutledge (Sara Porkalob) indicts the hypocritical and self-righteous Northern colonies, reinforcing that they, too benefit from the Triangular Slave Trade (the show-stopping “Molasses to Rum”).
Infuriated, Rutledge walks out of the session and won’t return until an anti-slavery clause in the preliminary Declaration of Independence is removed. Unanimity seems far away. Yet, Adams, encouraged by wife Abigail (Allyson Kaye Daniel) throughout (“Yours, Yours, Yours”) and with the help of Franklin and Jefferson and changing results by Washington, make concessions and revisions. Finally, all agree to sign and we see their iconic signatures projected on the curtain at the conclusion.
Page and Paulus’ casting inversion ends when they cast females in the roles of Martha Jefferson (Eryn LeCroy) and Abigail Adams (Allyson Kaye Daniel) with Daniel dressed in a colorful turban and African shift. From a positive perspective, the casting adds new interpretations and vitality, if one isn’t so well acquainted with or enamored of the original musical as to be offended with its “tampering.” Assuredly, 1776, regardless of iteration, stands on its own as a dynamic, ingenious musical.
Importantly, each unique rendering, illuminates additional perspectives. Each version should yield a new appreciation for the Founding Fathers’ humanity and blindness, which still exists today in American attitudes that have carried over for generations from a racist past that cannot be ignored by culture wars of political convenience. However, this latest 1776 outing pegged to our present generation must give pause for its daring. If one viewpoint is modified, the version has done its job. For Page and Paulus’ revival affirms that the essential concepts in the elite, propertied white men’s minds were the immutable verities of spirit that ultimately, if allowed to, transcended demographic differences to help us arrive at the expanding social and cultural contracts we have today in most of the country.
The revolutionary casting provokes humor and thoughtfulness. Interestingly, it often evokes a celebration of the success of the “American experiment.” Specifically, with a pregnant female Thomas Jefferson (Elizabeth A. Davis is expecting and plays the violin exquisitely) the birthing of a nation takes on an ironic and humorous meaning, especially during the song sung by Adams, Franklin and the company entitled “The Egg.” In Act II after Jefferson writes the preliminary document and Adams decides that the eagle will best symbolize the new nation, they suggest that they are like midwives to an egg hatching. During the rousing, cleverly re-imagined song, a video of the new nation’s history to come is projected on a curtain behind the actors. As the multi-cultural nation spools historical events in the future, the pregnant Elizabeth A. Davis’ Jefferson fiercely accompanies with riffs on the electric violin.
Indeed, we see what has been birthed from past to present. Our nation’s potential is amazing thanks to spiritual concepts which move beyond definition in this revelatory 1776.
The actors reveal their beautiful voices and superb acting talents during other numbers staged imaginatively. Many are standouts, however a few deserve special mention. “Momma, Look Sharp” sung by Salome B. Smith, with Tiffani Barbour and the company is a show stopper as is “Molasses to Rum” sung by Sara Porkalob. The latter song humbles the Northern colonists who participate in the Triangular Slave Trade. In pointing out the blindness of hypocrisy, the should humble everyone today who has a mobile phone, uses a laptop, wears a diamond, eats certain foods, for they have a slave footprint and participate in some for of wage slavery.
Does this new iteration work? What are the directors and actors intending to express with this revolutionary casting approach to a beloved musical? And it is beloved. One only has to read YouTube comments connected with the film version and various songs that users have uploaded, to discover that Americans trot out the filmed version of 1776 (released in 1972) occasionally. Some even claim to watch the film on July 4th to reaffirm their patriotism and appreciation of this nation with its viewing. Thus, fans of the original will perhaps bristle at this version.
However, for younger audiences, the zaniness of the production, its show-stopping numbers and the audacity of this bold cast will appeal. When at times, some of the numbers take on an irreverent, spoofy quality (“He Plays the Violin”) they will find the overall effect amusing. After all, the overarching meaning of Edwards and Stone’s musical cannot be lost, because the script and song lyrics adhere to the original. Also, there is a salient addition with Abigail’s March 1776 letter to her husband, widely quoted as a statement for women’s rights. Abigail reminds him to include women in their endeavors in her adjuration to “remember the ladies.” In spirit and irony, Page and Paulus answer Abigail’s call, devoting the entire production to female, nonbinary and transgender actors.
Thanks to choreography by Jeffrey L. Page and free flowing staging by Page and Paulus, the musical is heavily stylized and stripped of spectacle and intricate set design. One is able to concentrate and align the events and their significance to our history then and now. Costumes by Emilio Sosa intimate the setting and the respective colonists. After the principals enter wearing modern clothing, with Sosa’s magic, they cleverly turn white socks into stockings, black leggings into colonial breeches, then slip into square-toed buckle shoes of the period. Their intricate and lovely frock coats differentiate the colony each represents and reveal the varied styles of our country’s Northern, Mid-Atlantic and Southern colonies.
What Edwards and Stone’s musical did in 1969 was remind Americans of their beginnings, during a time of social upheaval and divisiveness. Then, the musical may have recalled our Founding Fathers’ desire for self-governance as the populace questioned policies that escalated an unpopular war in Viet Nam, which to many seemed hypocritical because it interfered with another nation’s right to choose its own government.
Likewise, this revival seems appropriate at a time of divisiveness and polarization. When our rights are under siege (the right to privacy under Roe vs. Wade, along with the gutting of voting rights), once again we need to be inspired toward true patriotism, taken from our Founding Fathers’ rebellion against despotic and autocratic-acting King George III. Importantly, we need to hearken back to the time when our Founders established the path toward a constitutional democracy, which forces ranging in this nation today appear to want to jettison.
Thus, the musical’s cast solidifies that the “American experiment” of a nation of liberty, accepting of all races, creeds, genders, colors is burgeoning, even though in some places this version might not fall coherently and seamlessly in every moment of the production. The revolutionary cast concept cannot be easily dismissed. Nor can this version be glibly criticized for confusing history or the ideas.
If one reads extensively of the time during the Declaration of Independence and the Founding Fathers, it is clear that great artistic liberty was taken by Edwards and Stone to dramatize the Declaration’s signing in 1776. For example there are inaccuracies in the character of Adams who describes himself as obnoxious as the others concur in the expertly staged and performed opening number that establishes conflict. The description of “obnoxious” is contrary to what David McCullough suggests in his biography of Adams, who was well respected by his compatriots.
The historical inaccuracies are in the service of dramatization. Likewise, the casting of this version is historically inaccurate. However, as a musical for our time and nation, whose democracy appears to be hanging in the balance, it is extremely relevant and in keeping with the immutable spirit of freedom. Whether fans of the original will like it, hopefully, will not deter from their understanding of how the original and this present version are in concert with the nature and substance of a “declaration of independence.”
Kudos to Scott Pask’s fine set design, Jen Shriever’s lighting design, David Bengali’s projection design, John Clancy’s orchestrations Ryan Cantwell’s music direction, AnnMarie’s vocal design, Dean Sharenow-music coordinator and the other creatives who helped to bring this version to life. For tickets and times go to their website: https://www.roundabouttheatre.org/get-tickets/2022-2023-season/1776/
‘Jagged Little Pill,’ on Broadway is Electric, Dazzling in Its Power, Scope and Complexity
Alanis Morissette’s album “Jagged Little Pill” reached the stratosphere as one of the best selling albums of all time almost twenty-five years ago. The reason is clear. In its contradictions, biting satire and themes it resonated with its global audience, topping the charts in 13 countries worldwide. With that appeal behind it, the notion that the music might land in a stage production was a given, especially if a superlative writer could write an exciting book so the right director would then eventually shepherd the production to Broadway.
And so it happened. Diablo Cody, multiple award-winning writer of the film Juno (2007), synchronized her sardonic fresh, perspective with Morissette’s bile-dripping, alternative rock songs featured on the 1995 album. The meld effected the gyrating musical that premiered at American Repertory Theater, Harvard University in 2018, exquisitely and brilliantly directed by Diane Paulus. The creative team’s synergy further transformed the production into the present dynamo which opened at the Broadhurst Theatre in early December.
How is the musical Jagged Little Pill not just another teenage-angst-driven-juked-up melodramatic foray into identity, social acceptance and self-love? The glossy superficiality of the pumped up, unmemorable, alternative, post-grunge, pop rock light, the stuff that “OK” musicals are made of, is nowhere to be found in Jagged Little Pill. This is because of the grainy, raw vitality of Morissette’s and Glen Ballard’s music, supervised, orchestrated and arranged by Tom Kitt, with additional music by Michael Farrell and Guy Sigsworth.
On the contrary, the production, that some affectionately liken to a jukebox musical, defies that definition. First, there is its particularity. It is hard-edged and profound; the arc of Cody’s story spirals and complicates as she lays bare the Healy family while satirizing the underlying mores of the tony community where they live. Additionally, the finely tuned characterizations penetrate with authentic details. Their development draws us into the realm of gnawing secret addictions and the currently overripe, hellish thrall of Oxycodone, brand name OxyContin.
Whether we know of the relentlessness of this drug from experiences of friends, family members, neighbors or ourselves, we empathize with the characters as they confront its lethal power in a felt irrevocability. We’ve seen countless news stories and films on the subject, like the HBO documentary This Drug Can Kill You (2017). We’ve heard of the extremities of addiction resulting in the destruction of family bonds, the tenor of which Cody examines through the characterization of mother Mary Jane Healy her protagonist.
And what of the story of the wife and mother who broke her arm and kept on breaking it to justify prescriptions of oxycodone? Typical of addicts desperate for the opioid. Prescription meds addicts even have committed robbery and murder. (See article on David Laffer) Of course the drug should be taken off the market and banned but big pharma would lose money in its profitability; addicted middle and upper class women can afford to pay. Why give up on a good thing even when doctors now curtail its use which pushes addicts to the street where they buy OxyContin laced with poisonous Fentanyl for the trip of a lifetime?
Why don’t such individuals “get help” especially when they can afford it? Indeed! Help is the last step in the journey of the addicted. It implies that the family interacts with each other because they must be the main support system of the addict. Cody’s Healy family members do not interact much. They live quiet lives of desperation, seeking their own “thing” when we first meet them, though by all appearances from their home, to their lifestyles to their social connections, these folks “have it together.” Even adopted Frankie Healy (the spectacular Ceila Rose Gooding) is a mess, though you would never suspect it, because she asserts her powerful personality as a young, black woman who is assured in her gay relationship with Jo (the adorable, rockin’ Lauren Patten who sings Morissette’s signature number “You Oughta Know” to a standing ovation).
How are the posted social media photos of the Healys as the smiling, joyous family fakes it? The image is more important than the reality. And if the image looks good enough, maybe the family members will believe it’s true. How can we fault them at the time of Trumpism, when the president and his family and his supporters do the same, sporting the “best” of everything, from perfect presidential behavior, to perfect relationships with his staff, who are loyal to him because he is filled with grace? Such perfection has not been seen since the “savior.” Likewise, the Healy family’s “perfection” in the view of their friends and neighbors is non-pareil.
The Healys, as representatives of most suburban middle families, traffic in mendacity though such cowardice destroys. As it turns out, lying is the mother of addiction. And addictions salve the soul. With pornography, sex, oxycodone, adderall, alcohol, heroin, etc., life’s miseries become doable and for a time “everything is beautiful.” Of course such duplicity can only go on for so long before the veil is ripped and the ugliness shows through. In the production the songs “All I Really Want,” Hand in My Pocket” and “Smiling,” clue us into the lies. However, the family keeps their secrets from each other until there is a turning point acutely rendered at the end of Act I during the songs “Wake Up” and “Forgiven.”
The growing divide in each of the characters eventually earthquakes. The one who is the glue holding the family together, perfect mother and wife Mary Jane (the gobsmacking Elizabeth Stanley) gets shaken to her core. The precipitating factor is oxycodone, but Mary Jane’s issues run silent and deep. The drug only suppresses and numbs her from acknowledging the soul gnawing canker worm that eats away at her image of perfection while she bleeds like an open wound inside.
As the musical follows the unraveling conflicts between Mary Jane and husband Steve (Sean Allan Krill) son Nick (Derek Klena) and adopted daughter Frankie (Gooding), other hot button issues come to the fore sweeping the family up in their detritus. These include but are not limited to our paternalistic rape culture, Evangelical Christianity’s homophobia, pornography addiction which deadens intimacy between couples, and black-white cultural bias to name a few.
In the well crafted book, music and thoughtful lyrics, Cody and Morissette reinforce an ancient folkway of family structure; there often is little communication beyond functional superficialities. Sadly, profound communication belies self-awareness and soul authenticity. In such a family unit where obfuscation and a general lack of will to work together as a family become routine, addiction is easy. Finding a life worth living individually and with one’s family becomes impossible. The “impossibility” impinges on the family structure and each individual family member as the situation worsens for all.
And so it goes for wife Mary Jane and Steve. Though Steve does make an attempt to reach out to her, she rebuffs him. So it goes for Nick, the “perfect” son (Klena’s rendition of “Perfect” is excellent), who lives out his parent’s dreams not his own, and for Frankie, who is “all that” proud. Each self-deceives. Each is distracted by the race for perfection and by their manic avoidance of failure and the recognition of their faults, which comprise their endearing humanity. In fearing the stigma of being a “loser” (each family member defines it differently and never discusses their own perceptions until the end), each launches off into their own journey of error which impacts the family as a whole. When they become aware of their self-delusions (the exceptional song “Wake Up”), it is a boon that they and other characters come to grips with by the play’s conclusion (in the song “You Learn”).
Whether rich or poor, young or old, life is learning, and of course with learning comes change, pain and reconciliation. But first as the linchpin of the family, Mary Jane experiences the long and grueling events in her relationships. She begins first with her addicted alter-ego, then her children and husband. Through trial and error she learns to explode the self-deception, lies, defensiveness and powerlessness conveyed to her family, who become estranged from her as she embraces the drug as her panacea (this is terrifically rendered in movement during the song “Unforgiven”).
But before any of the family learn that their arrogance and attempt at perfection is delusion, they have to be awake to register they are fantastical creatures on a racetrack toward oblivion. The wonder of Cody’s book is that she has Steve and Nick on the road to awareness before Mary Jane, and Frankie who is blinded by her interest in Phoenix (Antonio Cipriano), which destroys Jo (“Your House”).
We note the disintegration of Mary Jane’s soul, whose behaviors are out of the addict’s playbook. Elizabeth Stanley crafts her characterization with nuanced sensitivity and empathy. She inhabits the ethos of the addict as the drug’s deadly chemicals subvert her being. Stanley is in the moment, from moment to moment with her lyrical voice and nuanced devolution. Our concern and identification with Mary Jane is elicited by Stanley’s prodigious talent.
The same may be said for the actors who inhabit the family members: Ceila Rose Gooding’s Frankie- activist and hypocrite blind to her own foibles; Sean Allan Krill’s loving, caring husband who stands by Mary Jane and reveals he wants to help her become well ( “Mary Jane”), though he is a “work-a-holic” and has an addiction to pornography and masturbation.
Cody has rounded out these characters and the actors thread their depth through the eye of the acting/singing needle. All have gorgeous voices. No less talented is Derek Klena. Klena’s emotional crisis (whether to jeopardize his life path and testify to a rape he saw or keep it a secret along with his unhappiness living his parents’ goals for his life), is heartfelt. Initially, it is Nick who sounds the alarm about his family; Kitt’s orchestrations manifest this twice in a long note from a brass instrument (is it an A or C?), almost like a harbinger that a turning and reckoning must happen or they all will be immeasurably harmed.
Paulus’ staging and her vision, and Sidi Larbi Cherkaoui’s movement to evoke the characters’ emotions are smashing. The characters’ inner rage and torment and Mary Jane’s double mindedness about her addiction’s seduction and her love of self-destruction (“Uninvited”), are clarified in the movement and the dance. Paulus has staged the characters in various scenes so that they are propelled in circles using the props (desks, walls). The effect reveals their confusion and inability to straighten out and to seek emotional life paths that are not dead ended in circularity. Paulus/Cherkaoui also integrate break-dance movement with the songs as a metaphor, representing the emotional inner churning and rage of the characters. Paulus makes sure that the character rage and their emotional circularity are cogently integrated with Riccardo Hernandez’s scenic design and Justin Townsend’s lighting design.
The frame of the house in lines of light in various colors abides throughout. Its symbolism recalls how the structure of family and home and what family members experience there, is carried everywhere into relationships, into school, into work, into social activities. Justin Townsend’s lighting design is effective as it is used to reflect emotions. For example, Jo’s fury in “You Oughta Know” is aligned with Townsend bathing the stage in red. Patten’s Jo is fabulously wild; the injustice she feels about Frankie’s demeaning mistreatment is a show stopper made all the more wonderful by Townsend’s lighting and Cherkaoui’s movement.
Additionally, “Wake Up,” and “Forgiven” (as the family members’ backs to the walls of their own making spin them around), are particularly stunning. In these numbers and in “Predator,” “Uninvited” and “Mary Jane,” Paulus, the company and creative team pull out all the stops. And “No” by Kathryn Gallagher as Bella (she has been raped by Nick’s friend), singing with the support of the company, should be taped and played for every Sex Ed. class in high schools: the signs are especially noteworthy.
At its heart Jagged Little Pill is about family. It is provocative, in your face, striking, salient. If one considers how easy it is to couple and how hard it is to move toward a kind, generous, integrative family who works on their failures by loving in overdrive, Cody’s Healy family, portrayed in its jaggedness is a superb textured unit. As a key theme, there is always hope for redemption and reconciliation, Cody suggests, for them, for us.
Add Alanis Morissette’s music, with Kitt’s orchestrations, Paulus’ metaphoric, symbolic staging, the amazing performers, the lighting and brilliantly minimalistic and always seamless and mobile scenic design, Jagged Little Pill is a musical worthy of the nearly twenty-five year wait for these creatives to bring this sterling production together. It is the right season for Jagged Little Pill to take flight with this cast, Cody’s sheer audacity and Paulus scaling the mountaintops of her craft.
I’ve said enough. See it with your eyes wide open and enjoy it awake. It is an experience you won’t easily forget. For tickets and times CLICK HERE.
‘Gloria: A Life,’ Starring Christine Lahti, directed by Diane Paulus, Off Broadway
An older Irish white woman cabbie driving Gloria Steinem and Flo Kennedy to an event in Boston after overhearing their discussion about abortion said, “Honey, if men could get pregnant, abortion would be a sacrament!” Since then you may have seen that quote on cups, t-shirts, and other memorabilia. That priceless comment/story and countless others, plus witticisms, jokes, truths, and historical facts spill out in Gloria: A Life, written by Emily Mann and directed by Diane Paulus, currently at the Daryl Roth Theatre.
This exceptional production about the life and times of Gloria Steinem moved me to laughter and tears. Writing with extraordinarily seamless beauty, Mann trenchantly underscores how and why Gloria Steinem moved from bondage to freedom in her own life. And this account of how her transformation helped/helps countless women and men move toward freedom from destructive gender folkways resounds with power and reveals why Steinem has become a living legend
Steinem’s development and experiences, and her own influences from so many other women, serve as the backbone of this superb production. With archived photos, videos, voiceovers, and more, the director and writer form a mosaic of the unique perspectives of men and women who have taken part in and still embrace the women’s movement. We discover a key point: that Gloria’s continuing evolution has strode in tandem with the movement’s multiple stages.
Adroitly, director Diane Paulus employs an ingenious, comfortable, interactive approach. She intersperses details, facts, stories, and themes about how women transformed the culture, through Christine Lahti’s portrayal of Gloria. Steinem’s development spins out from the stereotyping oppression and laws against women of her youth, to the legal revolution in support of women, in her 30s, to the current legal assault on women’s rights, in her later years. (As a reminder, our country has yet to pass an Equal Rights Amendment.) The actors take on multiple roles to reveal examples of the nullifying attitudes Gloria encountered early on. Lahti’s humorous portrayal sprinkled with good will reveals how Gloria eventually dealt with such attitudes as her eyes opened and she evolved.
As Lahti’s Steinem sanguinely points out, anti-feminist groups (represented by Phyllis Schlafly in the past) ultimately have the bottom line as their motive. Profits, not people’s concerns, fuel the hate rhetoric against feminists. Attempting to understand the logical truths behind what women are saying puts a downer on money making. Better for companies to stir people’s emotions with propaganda that makes them avid consumers. As such they buy products they don’t need to momentarily salve their soul sickness, stimulated by advertisements that browbeat them for not being perfect. The convenient, vacuous, catchy, divisive memes and gender-perfect advertisements perennially harm.
As she references such truths, Christine Lahti inhabits Gloria Steinem with joie de vivre and humility. Joanna Glushak, Fedna Jacquet, Francesa Fernandez McKenzie, Patrena Murray DeLanna Studi, and Liz Wisan portray the towering women who impacted Gloria. These include major influencers like her mom (a journalist who left her work to join her husband), Dorothy Pitman Hughes (who created the first non–sexist, multi-racial childcare centers), the feisty, no-nonsense Flo Kennedy, and lawyer, activist, and U.S. Representative Bella Abzug.
Mann took from Gloria’s 2015 autobiography My Life on the Road the feminist icon’s early experiences and her trials as a journalist. Ironically, when she wrote the book, Steinem most probably didn’t imagine she would be speaking at the greatest global Women’s March ever in 2016. The production includes photographs and video clips of Steinem speaking in Washington, D.C. Though the women’s movement, like Gloria, has evolved, so much more work must be done in the Trump era. The inspiration to get us to move and participate in this work activates the
Particularly startling, Paulus includes video clips of the demeaning, acid attitudes of interviewers like Harry Reasoner, who later apologized when Ms Magazine sold out in eight days. For those too young to realize how far women have come, we see archived photos of memes showing with women whose only functions are as housewives and sex objects. Photos of such advertisements in the 1950s and 1960s prompts Lahti’s Gloria to quip, “Is this what some Americans are nostalgic for?”
I particularly appreciated the historical facts about the movement revealed in archived material. The production cleverly projects video and photographs over two back walls on opposite sides. The entire production seats with benches and colorful pillows for the audience in the round. On the stage in the squarish round, red Persian rugs and pillows suggest discussion circles.
Indeed the discussion circle is an important part of the production. In Act II a special guest each night opens the circle. Audience members may remain or leave. This theme also abides throughout: The discussion and integration of ideas happen in a circle where everyone sits equally. For the hierarchy (the pyramid) to diminish, we must hear, see, listen to, and interact with each other as comfortably as our Native American forebears chose to do. Steinem points out that Native American democracy included such discussion circles and caucuses. Women were integral parts of these, a fact that stunned (and inspired) Benjamin Franklin when he learned about culture of the Iroquois Confederation
Gloria credits her ideas and actions to the mighty courage and determination of black women, Hispanic women, and Native American women. In underscoring who remained instrumental in spearheading second-wave feminism, she presents a list with photographs of black women who were crucial to the movement. Paulus projects their pictures with inspirational quotes on two screens. The list includes Dorothy Pitman Hughes, Flo Kennedy, Pauli Murray, Aileen Hernandez, Fannie Lou Hamer, Shirley Chisholm, Margaret Sloan, and Alice Walker. Wikipedia doesn’t recognize some of these women, but Gloria credits them for their prodigious efforts.
Finally, wonderful milestones are noted. For example we see acutely how our culture changed. Yet more change is needed with regard to the artificial gender images fostered by corporate agendas. As Lahti inhabits Steinem, Mann’s brilliant encapsulation of Gloria’s words through Paulus’ sterling direction opens our eyes. What we may have thought we knew bears hearing and seeing again and again. Indeed, this all-female production stirs us as an amazing, uplifting experience. Most importantly, it has the earthiness, historical universality, and erudition to appeal to all genders, races, and religions.
Would even evangelicals appreciate this production? Of course. Don’t women make up more than half of their numbers? Indeed, sharing stories about men’s personal habits always resonates. For example the actors include humorous stories about non-partnership minded men who leave their underwear on the floor, expecting their wives to pick it up. Such stories of personal lives are integrated beautifully to illustrate the importance of discussion among women. The more women talk to each other, the more healing comes, the more solutions to problems may be found.
At the heart of what is called the women’s movement, Gloria’s life’s work promotes freedom for men. Indeed, women and men both need freedom from the nullifying, dis-empowering macho and female roles of domination and passivity. These roles deny personality, growth, evolution, partnership, friendship, companionship, and the integration of the family unit beyond commands and orders.
Gloria: A Life suggests that women and men should have equal opportunities for medical care, financial wellbeing, family care, and prosperity. That the privileged wealthy minority will use gender division to cloud our eyes and misdirect our pursuit for human rights for all is a given. Noted, and stopped, say Gloria and millions of others. We must work to bridge the divide and jettison such roles, which crucify all genders and destroy the social good.
By looking at the past, though we may not have been alive at the time, we understand the value of what women globally endured then and now. Also, by understanding the past, we appreciate and value the hard-won freedoms (Roe v Wade, LBGTQ marriage equality, a woman’s right to use her own name, etc.) that women in democracies enjoy. Still, throughout these moments of progress highlighted by the actors and visuals in the production, concerns about the present political climate whisper.
Understanding becomes crucial to our growth. The production fosters understanding. And from this understanding we realize that the current political partisanship has pushed us to a precipice. All the more noxious are the agendas right-wing organizations like the Federalist Society and conservative think tanks use to consolidate power on the right. For these uber-conservative organizations, women’s rights must be overthrown and diminished as a political initiative. The prize to be gained includes corporate hegemony. The power and money behind these groups are used to maintain supremacy over puppet leaders. And they intend to employ “unbeatable” partisan, conservative voting blocks of nativists, anti-feminist groups (Neo-Nazis, white supremacists), and evangelicals (anti-abortionists, etc.) to maintain or usurp power by any means necessary.
For what it encourages – to understand ourselves today through viewing the past – Gloria: A Life is a must-see. Additionally, you will enjoy its humanity, good will, and uplifting remembrance of history, as well as Christine Lahti as Gloria, the sterling ensemble performances, the active staging, and Mann’s integrated writing of Gloria’s perspectives. All of this enthralls and contributes to making the production soar.
Gloria: A Life runs until 31 March 2019 at the Daryl Roth Theatre in NYC. Stay for the discussion circle in Act II and raise questions with the cast, audience, and special guest. Or just listen. Tickets are available online