Politics, The Art of the Possible

For the last several months, I have been debating the pros and cons of voicing my opinion regarding the upcoming election for President in 2008. However, I feel that we, as a nation, have reached a tipping point. The title of this post is a nod to a lyric from Webber’s musical Evita. It resonates now, because I feel that as an advocate for children, the arts, and most importantly a well-rounded humanist and liberal arts education; I can no longer sit quietly idle while the maelstrom of the political race swirls around me threatening to spin our nation into a further spiral of doubt and despair.

The proverbial straw that broke the camels back was the announcement of Sarah Palin for Vice Presidential candidate for the Republican ticket. To say I was dismayed at John McCain’s record was a mere trifle when I heard his choice for VP and her record (if one can call it that) began to emerge. She was a diabolically clever choice by McCain and I immediately heard the voice of Princess Leia in Star Wars when she is brought before Governer Tarkin on the Death Star, “ . . . I thought I smelt your foul stench when I was brought on board.” The foul stench here could very well be that of Karl Rove, the poster child for the evil Empire of the Star Wars franchise or one for the Slytherins if you have a more literary bent. In either case, the choice stinks and we should all be concerned. Not that the Republican ticket will win on merit, but that the Democrats will lose due to complacency and the fact that the majority of Americans are stupid enough to buy into the GOP package that is cloaked in a thick fog of lies, deception and inherently insidious framing that will beguile and lead the witless masses to vote a certain way.

For those of us in the field of liberal education, the arts, or any that support and encourage the creative and intellectual freedom of children should be storming the walls of the fortress and rallying our colleagues in support of Barack Obama, the Democratic Presidential candidate. His education platform, although not perfect, lays the groundwork for a sensible re-tooling of No Child Left Behind (NCLB) which has been an utter failure during the last two administration cycles with the GOP in charge. It was doomed to failure from the start, but the Republicans mismanaged its implementation and guidance to the extent of allowing school districts all over the country to hemorrhage, not only from lack of funding, but the mandates set forth by the standardized tests required by NCLB.

Here in the Seattle area, we have a neighboring school district’s teachers on strike for the second full week of classes. At issue, more pay, and freedom to teach to their strengths rather than the dictates of NCLB and the standardized tests.

VP Candidate for the Republicans has a track record of supporting issues that go against basic civil liberties, the rights of women, gays and lesbians, marriage equality and has been proven to inculcate religion into her governance of Alaska. And most terrifying are the reports that she may have supported censorship in the libraries of Wassila, Alaska while she was Mayor. This alone should be enough to disqualify her from candidacy.

We need only look to the wise words of Ray Bradbury, author of Fahrenheit 451 when he cautions, “You don’t have to burn books to destroy a culture. All you have to do is get people to stop reading them.”

Let us all rally in support of a ticket that will support the people, not a privileged few. Let us support a candidate that has a proven record of community engagement. Let us support a candidate that will work to provide health care for everyone (we need only look to the Europeans in how this can be done effectively.) Let us support a candidate that will fight to end our dependence on foreign oil and subsequently help to ensure the children today have a sustainable world to live in tomorrow.

I believe, that as artists, we have the ability to see the potential and be change agents for a better world that can unite us. Our art, whether it is visual, digital, musical or performative, can, and does, allow the witness to understand the world and themselves and to see the potential in everything.

Get out the word! Be vigilant! Be compassionate! Be a participant!

In the words of Barack Obama, “Yes We Can.”

The Grapes of Wrath and The American Cycle: An Epic Program of Theatre and Outreach at The Intiman Theatre

The Intiman Theatre, best known of late for the Tony Award-winning musical A Light In the Piazza, should also be known by all of us in the theatre world due to their efforts in creating and giving breath to an epic program of theatre outreach that could serve for future models of similar programming.

The Intiman Theatre in Seattle, Washington, is currently being helmed by Bartlett Sher, Artistic Director and Laura Penn, Managing Director. Mr. Sher has been responsible for many of the recent outstanding production at the theatre since he joined in a leadership capacity and was the director for the Seattle production of Piazza and the eventual New York transfer winning a Tony nomination for his direction.

The American Cycle is the new brain-child of the creative team at The Intiman that will roll out over five years. The Cycle, as described in their program, includes five plays over five years, and a series of annual programs that explore the local resonance of themes and ideas generated by the works on stage. As an audience member, I had been exposed to some of the media coverage of this Program, but it really did not hit home for me until I recently attended the Intiman’s production of John Steinbeck’s Grapes of Wrath, directed by Linda Hartzell, Artistic Director of Seattle Children’s Theatre.

Grapes of Wrath is the second of the five play Cycle that started with Our Town, featuring Tom Skerritt as the Narrator and will continue with Richard Wright’s Native Son (2006), Robert Penn Warren’s All The King’s Men (2007, rights pending) and Harper Lee’s To Kill A Mockingbird (2008). What, I think is so extraordinary with this program, is the breadth and scope of the entire program. The selection of plays alone is exciting, but it is the ancillary components that really resonated for me.

Upon entering the Intiman’s spacious theatre lobby, I immediately noticed the extent to which the Education Department had gone to invite the audience to explore the historical significance of Steinbeck’s subject matter. On one side of the lobby was a map of the United States tracing the journey of the Joad’s and the primary path of many migrants during the Dust Bowl. This was accompanied by pictures of various locations that were pin-pointed on the map—images by Dorothea Lange, and other visual images of the photographers of the WPA program. On the other side of the lobby was a historical representation of how the Dust Bowl and Great Depression impacted the Pacific Northwest region and industries such as Salmon fishing. This was executed through maps, photographs and a digital program playing on a lap top computer. Throughout the center of the lobby, was a large two sided display board that snaked its way through the central expanse—symbolic in many ways of the journey that the Joads and others undertook. It was an enormous amount of visual resource and text exploring life during this time.

As stated in the program, The American Cycle Goals are—Produce Great Art, Cultivate Curiosity, Advocate for Literacy, Encourage an Informal Citizenry and Understand Interconnectedness. Most of this is obvious, but for me, the two that caught my eye were Encouraging Informal Citizenry and Understanding Interconnectedness. Having spent the last fourteen years trying to solve these questions with my own work and company in Austin, I was intrigued by how an institution of The Intiman’s size and caliber would handle these two thorny issues.

The last two of the above goals are of course connected and not mutually exclusive within a program such as this.

Having missed the programming for Our Town and much to my chagrin Grapes of Wrath, I can only go by what the theatre shares itself. But the outlook looks impressive and I am eager to participate in the future productions and programming going forward.

One of the key components that I think really should be shared is the Rough Eagles program. This collaboration is between the youth of two disparate schools with the Seattle metropolitan area. One from a north end school with greater resources and the other from a south end school with limited resources. The two groups came together to explore the themes of Our Town and now, continue this program by exploring the themes found in Grapes of Wrath. Over the span of several months, these students along with their teachers and sponsors create a theatrical presentation of their devising in response to the play and its themes. Along with this major component can be found civic dialogues leading up to each production along with community readings, talk-backs and others as created.

It would seem to me that this program’s success stems from its ability to reach to not only its adult base, but to the future audiences by really making an effort to connect with non-theatre-goers, and young people who traditionally may not have the ability or desire to attend these productions because of finances or the misperceptions that it is too high-brow.

The Frank Galati adaptation, first produced by Chicago’s Steppenwolf Theatre is a clean and faithful treatment of Steinbeck’s monumental work. As directed by Linda Hartzell, the story was poetically moving and captured the lonely and desolate love shared and lost by the Joad family. The casting of the main characters was dead-on with a superlative performance by Beth Dixon as Ma Joad. Her stoicism and mid-west sensibility keep the family going through the toughest times and it is through her eyes that we experience the excruciating heartbreak as her family slowly crumbles around her not unlike the dry earth that forces her family to flee in the first place. Her dreams, her family, dissolve into dust blown on the winds of change.

Hartzell stages the opening tableau like a dance with a handful of several isolated characters throughout the Intiman’s large stage—lights dim, the faint sound of dry wind and the images of dilapidated cedar post fence and dusty sky are all we need to set the tone and mood of the play. Carey Wong’s design is comprised of basically a bare stage within which he places simple scenic elements that set each of the locales of the play.

The costumes were dusty-worn, sepia tinted and drawn from the stark and evocative images we all know from the famous photographs of Dorothea Lange. The one draw-back for me was the lighting which seemed to conflict with itself at many times when trying to set a mood with motivated light sources such as fire-pits or lanterns. The lighting effects were thwarted by too much overall stage light. Having seen the Steppenwolf’s production, I was aware of the need for it to rain onstage and for a large trap to open in the downstage playing space to reveal a pool of water roughly four feet by 24 feet that was used for the river and swimmin’ hole. I knew it was coming, but experienced the joy of this simple theatrical design element when the collective gasp of awe rippled through the audience not unlike the wind on the dusty farm field. It was a magical moment.

And there were many magical moments for me due in no small part by Linda Hartzell’s staging. Of course there were many similarities to the Steppenwolf production both in design and directing, but I believe much of this must be in the specifics of the script directions in the stage adaptation by Frank Galati. However, two moments that stand out for me were when Ma takes a moment and moves downstage and sits alone in a chair next to a fire pit in the floor. She holds a musical jewelry box. She opens it, listening to the music. She removes a pair of earbobs and with much heartbreak, throws the box into the fire. It was a brief moment, but it underscored the quiet loneliness and resolve of this wife and mother—to have to sacrifice something so little, but yet something of such significance for her. The other moment, was of course the ending when Rose of Sharon, having lost her newborn child, makes the decision to feed a man, near to death. It is after a rain storm (one of those theatrical effects that evoked a collective gasp), the sound of the water still dripping from the catwalks can be heard, Ma covers Rose of Sharon with a blanket who gets up and crosses to the man. The two are left onstage as Rose of Sharon draws the man to her as she gives her breast to him. It is such a moving moment first on the page, and then to see it translated so beautifully and fearlessly to stage by Hartzell and her actors.

This was my first production at The Intiman, and I know it will not be my last.

For more information regarding The Intiman Theatre, visit their website at:
http://www.intiman.org/2005/default.html

To view the full list of events and programs related to The Grapes of Wrath and The American Cycle, visit:
http://www.intiman.org/2005/g_events.html