“Ghost Dancer” A New Political Drama from Robert L. Hecker At Theatre Three at the Mint Theatre Space
Reviewed by David Roberts
“Ghost Dancer” is a potentially powerful new play which opened November 19 at Theatre Three at Manhattan’s Mint Space. The only impediment to this success would be if the production as a whole does not more completely embody the spirit of the dance after which it is named.
The provenance of the Native American ‘Ghost Dance’ is complicated and not at all universally agreed upon. However, for the purpose of this review (and the production itself), the elements of the dance are somewhat clear. The ‘circle dance,’ the traditional ritual used in the Ghost Dance, has been used by many Native Americans since prehistoric times. It is widely believed that the practice of the Ghost Dance added to the resistance offered by the Lakota at Wounded Knee in 1890. The Paiute spiritual leader Jack Wilson (formerly known as Wovoka) created the Ghost Dance after a vision during a solar eclipse in 1889.
Visions play a major role in Hecker’s new drama, including Lakota Romero’s vision of a Caribbean free from Anglo expansion and oppression. Lakota (Lilia Vassileva) marries Tony Romero (Arturo Castro) hoping his warrior background will merge with her anarchistic agenda to create a new Caribbean free from outside expansion. After spending a year in prison, Tony is not keen on Lakota’s revolutionary vision, especially after the birth of their first child. This inter-personal conflict, and the concomitant intra-personal conflicts it generates, drives the plot of this remarkable and relevant drama.
The relevance centers around the deep questions: how is change best achieved; does significant and enduring change require violence and death; how thin is the line between what is and what is not justified in the revolutionary process?
“Ghost Dancer’s” characters ask the relevant questions pertinent to the above universal queries. Tony asks whether Latinos in the Caribbean need to learn to live “with what they got” or take up arms to get what they deserve and further wonders if there is some “middle line” between these seemingly diametrically opposed positions. Tony’s Uncle Luis (Jorge Acosta) queries whether trusting in God is a viable approach to achieving equality. Tony also realizes after his son’s death that “the meek will inherit the earth only after the strong are all dead.”
Throughout this dialectic, Lakota pressures Tony to join her in the revolution. When he resists, she is inspired to murder their son to convince Tony to re-join the revolution his father began. His renewed zeal results in mayhem and murder which even his compatriots cannot tolerate and they plot his assassination.
“Ghost Dancer” is in its essence a strong extended metaphor for martyrdom. The sacrifice revolutionary martyrs accept has Christological and messianic overtones and three of the characters have their “moments” wondering whether “God” is speaking to them or not. These three soliloquies are perhaps the weakest parts of the play and need to be re-imagined in order to have them successfully contribute to the overall effect of the play.
Hecker’s script is strong and is supported by a strong ensemble cast. Luis Salgado’s Francisco and Rosie Lani Fiedelman’s Rosario brilliantly counterpoint Tony’s and Lakota’s struggle with conscience. Leajato Amara Robinson’s Hector is the conscience of the collective cast and Robnison effectively draws the audience into making its own commitment to revolutionary practice. Just when the audience believes it has “chosen a side,” Reza Salazar’s Lazaro drags in a box of rifles or announces that the “Movement” has turned its radical back on the very man (Tony) it exhaustively courted.
To move forward, “Ghost Dancer” must be willing to step out to the edge of the stage and throw itself into the abyss of the audience and dance the dance it purports to embody. The metaphor of the dance needs to be intensified and extended in order to properly honor its essence. In its present incarnation, “Ghost Dancer” is a drama which needs to be seen. Its connection to Occupy Wall Street and the worldwide struggles for justice is spot on. This reviewer has faith that the creative team will do all that it needs to do to ensure that this important work has a promising future. This is a busy season; however, do yourself a favor and be sure to see this engaging work in progress.
GHOST DANCER
By Robert L. Hecker; Directed by Joshua A. Kashinsky; choreography by Amy Klewitz; sets by Duane Pagano; costumes by Candice Knox; lighting by Peter Hoerburger; sound by Ien DeNio; properties by Charlotte Volage; fight choreographer, David Dean Hastings; graphics by Alyssa Renzi; production stage manager, Heather Hogan; production manager, Evan Storey. Presented by The Show Goes On Productiuons. At Theatre Three at the Mint Theatre Space, 311 West 43rd Street, 3rd Floor; (212) 352-3101; www.showgoesonproductions.com. Through Dec. 10. Running time: 1 hour 45 minutes with one ten-minute intermission.
CEOExpress
