“Hard Times: An American Musical” at the cell By Larry Kirwan Directed by Kira Simring Reviewed by David Roberts Theatre Reviews Limited
By any standard, these times – our times – are hard times. Individuals and groups of individuals find their way through hard times in a variety of ways: perseverance, ingenuity, luck of the draw, or serendipitous surcease. Those who gathered at Nelly Blythe’s Five Points saloon needed all of those ways to overcome the racism, sexism, and classism of 1863 New York City.
Despite the tolerance, loose behavior, music and dancing of Five Points, the fabric of this fragile alliance was damaged by the riots of July 13, 1863 when the discontent over the newly enacted Draft fractured friendships and engendered a future of racism, segregation, and division. In “Hard Times: An American Musical,” playwright Larry Kirwan highlights the songs of Stephen Foster as an extended metaphor for America’s post Civil War struggle for identity and purpose.
Just as Tony Kushner was able to bring into focus his understanding of the hard times facing America near the close of the twentieth century with his “Angels in America: A Gay Fantasia on National Themes,” Larry Kirwan has been able to successfully bring into focus the issues that face twenty-first century America and threaten to damage the very core of its credo.
Just as the struggle between Irish immigrant and entertainer Owen Duignan and the free black entertainer Thomas Jefferson is an extended metaphor for the ongoing struggle between cultures and races in America and the difficulty faced by new waves of immigrants, so the presence of Nativist American Political Party Bowery Boy Michael Jenkins a well-developed trope for all the bigotry and hatred that exists in present day America.
The unresolved love between Stephen Foster and Owen Duignan beautifully displays America’s difficulty in understanding the power of love and the need for all of its citizens – straight and gay – to have equal rights and opportunities, including marriage. The strained relationship between Foster and his wife Jane is a powerful symbol of the difficulty of success in relationship especially when complicated by issues of sexual status and human need.
And entrepreneur saloon owner Nelly Blythe creates the setting for the new kind of leadership needed in America to move it forward into the next century. This is unquestioned, unparalleled writing on the part of playwright Larry Kirwan and brilliant ensemble acting by Almeria Campbell (Nelly), John Charles McLaughlin (Owen), Jed Peterson (Stephen Foster), Stephane Duret (Thomas), Philip Callen (Michael), and Erin West (Jane Foster). Director Kira Simring, the creative team, and the orchestra summon the synergy to make “Hard Times” a remarkable and memorable moment of brilliant theatre.
Stephen Foster’s songs and Larry Kirwan’s songs counterpoint each other and create a fugue for freedom and future. When Nelly and Thomas re-imagine Foster’s “Old Folks At Home,” a moment of theatrical magic happens. And a few words found on a scrap of paper in Stephen Foster’s wallet become the brilliant “Dear Friends and Gentle Hearts” that invites the audience to discover a way to attain the compassion and gentleness that will re-imagine America and re-construct community.
Jed Peterson is a soulful, contemplative Stephen Foster who broods over his character’s bereavement at the loss of his creativity and ability to give and receive deep love. Almeria Campbell’s rich understanding of Nelly Blythe brings depth and passion to Nelly’s role as reconciler, redeemer, and prophetic voice. John Charles McLaughlin creates the young Irish immigrant Owen’s rage with a craft rooted in perfection and is the perfect foil for Stephane Duret’s contrapuntal anger at the struggles post Civil War black Americans to move successfully to authentic freedom. Philip Callen’s Bowery Boy Michael is as unpleasant a character imaginable in the company of companions attempting to simply get along. Erin West’s Jane Foster bristles with doubt and depression as she tried desperately to discern “what is ailing” her distant husband. All have glorious voices that interpret Foster's and Kirwan's music with the care and conviction it requires.
Ultimately, Stephen Foster’s deep regrets about some of his early music that misrepresented the African-American culture of pre and post Civil War America morph into America’s regret and shame of not being able to resolve the human issues needed to continue to form “a more perfect union.”
Kudos to 1st Irish 2012 powered by the Origin Theatre Company for bringing Kirwan’s work to the cell and for its uncompromising commitment to celebrate the power and talent of Irish playwrights and its dedication for presenting Irish theatre to New York audiences during this fifth festival season.
Theatre Reviews Limited sees this gem in the crown of the 1st Irish 2012 moving to a stage like Playwrights Horizons or the Atlantic’s Main Stage, then a short tip to a cozy home on Broadway. In the interim, see this important piece of American theatre before September 30.
HARD TIMES: AN AMERICAN MUSICAL
Presented by the cell: A Twenty 1st Century Salon (Nancy Manocherian, Founding Artistic Director) and Jason Najjoum. By Larry Kirwan. Music by Stephen Foster and Larry Kirwan. Directed by Kira Simring. Choreographed by Joe Barros. Set Design by Dara Wishingrad. Costume Design by Sara Hinkley. Lighting Design by Gertjan Houben. Sound Design by Tommy Renino. Fight Director, Tim Eliot.
WITH: Philip Callen, Almeria Campbell, Stephane Duret, John Charles McLaughlin, Jed Peterson, and Erin West.
BAND: Andrew Smithson (conductor, piano), Jake Timm (violin), Maurice Bell (bass), Kevin Wunderlich (guitat/banjo), and Andrew Burns (drums).
All performances are at the cell, 338 West 23rd Street (between 8th and 9th Avenues). Schedule of performances: September 13-15, 8:00 p.m.; September 19 at 3:00 p.m.; September 21, 22, 24, 27, 28, 29 at 8:00 p.m.; and September 30 at 3:00 p.m. For tickets ($18.00), call the Box Office at 800-838-3006 or visit www.1stIrish.org
Permalink | Posted by David Roberts on Saturday, September 15, 2012
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