Am Rep

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The Starry Plough flag, at the Irish National Museum, Collins Barracks

We are going through a period in our history that feels like a Rubicon crossing. Decisions made now will have ramifications that will be long, deep and unperceived from our current viewing spot. Brexit was one of those ramifying decisions, and the U.S. presidential election is another.

Historians are good at naming those moments where a vortex is encountered, and certainly the Western world went through one following World War I. Having recently been in the Habsburg capital of Vienna, I was reminded of how quickly the topographic distribution of power can shift. How many anticipated how quickly one of Europe’s most powerful dynasties would come to an abrupt end?

(And of course Vienna played a crucial part in the events that led to a second World War. Adolph Hitler, a footloose and forlornly lost 17 year old, came to Vienna and decided he wanted to study at the prestigious Vienna Academy of Fine Arts. He sat for the two day exam and was completely dumbfounded when he was not accepted. He tried once more and was rejected again. How can we not wonder what might have happened had the outcome been different.)

The vortex of change at the end of World War I has a particularly important Irish version as well. This year is the Centenary celebration of the Easter Rising that began in Dublin, a rebellion that eventually led to the Irish Free State declared in 1922. While I was visiting friends in the southwest of Ireland last May, I heard many regional accounts of how the rebellion played out in that remote corner of the Emerald Isle. And as part of this year long commemoration, friend and artist Cormac Boydell created a gorgeous series of ceramic pieces heralding the rich Irish lineage of stories, icons and legends. (For more examples of his work, click here.)

The Abbey Theatre, Ireland’s premiere theater—founded by none other than W. B. Yeats and Lady Gregory in 1904—is currently in Boston to perform one of Ireland’s most seminal plays about the battle for Home Rule, The Plough and the Stars by Sean O’Casey. Named after the Starry Plough constellation that was used on the banner of the Irish Citizen Army, the play was met with controversy when it was first performed in 1926. O’Casey was no apologist for the rebellion, and his overtly political play questions many of the decisions that led to the bloody feud that continued to fester until very recently. But this is an essential narrative to all things Irish, a narrative that is captured so poignantly when visiting Dublin’s Glasnevin Cemetery as well as the National Museum of Ireland at the Collins Barracks.

The Abbey Theatre’s production preserves the historical events of 1916 as seen through the eyes of a group of Dubliners, but the play is staged in a brutally post-industrial, urban wasteland that brings the story into a contemporary context. The fate of these characters is harsh as is the landscape of their lives. O’Casey does not delve into his characters in depth—his approach suggests E. M. Forster‘s description of Charles Dickens‘ characters as “flat but vibrating furiously.” But O’Casey’s play still honors the redemptive qualities of Irish unflappability and indefatigableness. Those qualities, ones that have carried the Irish forward as a nation with a unique proclivity for expressiveness and artful storytelling, are evident even in this tragic account of rebellion and loss.

The Plough and the Stars runs at Am Rep in Cambridge through October 9.

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Most of us have a list of artists, writers and musicians who have touched us so consistently that we are ever ready to reach out to each new work that emerges. Once ensconced in my personal hall of fame, my list of carefully chosen creatives are my personal canonicals. I show up for everything they do.

Anna Deavere Smith has been one of my canonicals for a long time. Seeing her perform Fires in the Mirror in the early 90s was a revelation. Smith’s extraordinary insight is that language changes when it is spoken, verbatim, by someone else. She exposes complex meta narratives that live below the surface of the words we choose to use. And when they are set apart, out of their native habitat, the multidimensionality is more easily deciphered.

Why this works still baffles me, but Smith has consistently demonstrated the scope of this discovery. By applying this approach to highly charged social issues, her performances are some of the most powerful contemporary examples of art engaging the political. She does this without getting tangled in the wonkiness of political action or dropping into the tiresome cliches of 24/7 news reportage.

Her latest work is Notes from the Field: Doing Time in Education, now at American Rep in Cambridge. Once again she unpacks some of the most unpleasant realities of American life, ones we would rather not face—racism, inequality, educational failure, the school-to-prison pipeline, poverty, the tragic waste of human lives. In this extraordinary telling, these issues are exposed as a complex nest of interrelated problems. You can’t fix just one.

As painful and sorrow-filled as these topics are, Smith is not going to let anyone slip into passive detachment. Using her finely tuned vignettes, she brings a variety of viewpoints to bear on these topics: bureaucrats, law enforcement and prison professionals, educators, psychologists, students, policy experts, politicians, parents, cons and ex-cons. (Her performance of the pastor Jamal Bryant‘s eulogy for Freddie Gray will live on in my mind for the rest of my life.)

Wisdom abounds in the people Smith captures in her vignettes. Here’s a taste of the strong voice of Sherrilyn Ifill who heads up the NAACP Legal Defense Fund, from an interview with Smith in the Los Angeles Times:

“We’ve been spending enormous money on the back-end of the problem,” [Smith] said. “You know how much it costs to have a person incarcerated? Sherrilyn Ifill says it’s not that we’ve stopped investing in mental health resources, but that we’ve been doing it in prisons. The most eloquent people are saying these resources need to be put on the front end, so that interventions can be made in communities of poverty.

“It’s not going to be cheap, but why not spend some of the money earlier?” she asked. “Because, remember, for a long time before these people were in prison they were doing things that were not productive for society.”

Smith is a consummate performer with a highly developed sense of how theater moves us. The minimal yet sophisticated staging along with the presence and soundings of bassist Marcus Shelby speak to her pitch perfect professionalism. But the material is still tough. As Smith has said, “Because I’m a dramatist, I like moments when there’s something unsettled. I’m in this business of looking at conflict. Conflict is never absent.”

I was so moved by this work even though I do have an issue with the overall design of Doing Time. Smith’s passion is authentic and palpable, and I believe it is that verve in her that led her to make a bold decision: After the first half, the audience is broken into assigned discussion groups where theatergoers are encouraged to enter into conversation about these issues. Before we broke into groups, Smith told us she wants the audience to take an active role in these narratives. She also referenced the call and response format that is used so frequently in the collective African American culture.

The intention is honorable, but the implementation fell short. This approach might work in a less professional setting, like community theater. But Smith is so luminously spectacular at bringing these themes into form that the stark transition into awkward groups of strangers forced to interact with each other felt almost punitive. Unfortunately it also strangled the carefully crafted throughline that Smith established in the first half. While the audience was reassembled for a “coda” performance by Smith that included lynchpin vignettes from wise elders like James Baldwin and John Lewis inter alia, the essential energy of the night was concentrated unforgettably in the those first 90 minutes.

It is the raw power of that first half that has me telling everyone they must see this production. Even with a disrupted delivery format, this is Anna Deavere Smith at her most memorable. These are the social issues right in front of us, the ones we must solve now. This nest of issues, along with climate change, should be at the forefront of every debate and stump speech during an election season. That they are not speaks to the primacy of Smith’s project.

The Doing Time experience is available at the American Reperatory Theater through September 17.

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Rob McLean and Matt Kahler in the Hypocrites’ “Pirates of Penzance,” an update of the Gilbert and Sullivan comic opera (Photo: Matthew Gregory Hollis)

We know that consciousness has no boundaries. It is for that reason that the connectedness of everything running through us is utterly overwhelming. In an effort to manage our day to day experience we create divisions and categories, overlaying a logical structure to our thinking. But underneath that artifice a bottomless melange of impressions, insights, awarenesses and ideas are churning perpetually.

And yet creativity and innovation happen with the unexpected and serendipitous juxtaposition of unrelated elements. This is evident in the painting studio all the time. Permitting the ongoing mash up of concepts, forms, colors and methodology is what studio time is all about.

But then is the rest of life to be packaged up in discrete categories, neatly organized piles? Not mine.

At a recent conference held at UCSC to discuss the interdisciplinary/collaborative intentions of the university’s new Institute of Arts and Sciences, San Francisco Exploratorium curator Marina McDougall stated it succinctly: “The world arrives to us whole, and the best and new ideas grow at the interstises of disciplines.”

While it is popular to approach that interstitial space with the idea that you throw everyone into the mix and a new consciousness will erupt on its own (along the lines of “order for free” in chaos theory), I am a proponent of a more nuanced approach to that liminal world of cross disciplinarity. At the same UCSC conference David Meckel of California College of the Arts described the open space/no walled classrooms/no private studios building that is the school’s San Francisco campus. That approach to interstitial space would be a nightmare for “I like time alone” people like me.

Gratefully Walter Hood, landscape architect, designer and theorist, stepped in to advocate for creative introverts by pointing out how many ways there are to manage “the space between.” “Sometimes we don’t want to be together, and it is our devices that keep us connected,” Hood offered. He went on to point out the value of taking a hybrid approach, one that offers a little of everything—privacy, connection, physical proximity, isolation. “We need to make environments where people can find their familiars.”

The same is true of art. And this is especially true with theater, particularly with productions that advocate for the “audience as participant” approach. The Chicago-based theater company Hypocrites’ production of Pirates of Penzance at the American Repertory Theater is a great example of managing the space between. This high energy, completely engaging and playful variation on the Gilbert & Sullivan opera takes over the entire theater space, but each audience member can gauge how involved they want to be in this 360 production. Some choose to sit on the stage and move around with the cast. Some are up and milling around, stopping by the bar at stage right to buy a drink. Some are singing along with the familiar music. Some are just happy to watch the whole extravaganza unfold. The options are laid out effortlessly right at the beginning by a member of the cast. It was a perfect example of letting the space between be multi-dimensional.

And as for the Pirates: Utter fun. Hats off to Sean Graney and his high wattage troupe of performers. The production is theatrically creative, cleverly delivered, irresistibly adorable. And I loved just being able to watch.

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