Winner of The Players of Sarasota's 2010 New Playwriting
Festival and thus enjoying a world premiere, Undaunted
offers an interesting subject,
Alexander Hamilton, and a
chance to learn other than the usual "textbook things" about him.
History teacher Bernie Yanelli weaves
bits about Hamilton's exploits as a soldier, statesman, politician, person of learning into his
drama. But his personal ambition,
a major sex scandal and enmities with major figures such as Jefferson almost
overwhelm the whole impression
here of his importance to the American economy, anti-slavery sentiment, internationalism and industrialization. Every nuance of
Hamilton's affair with a prostitute,
presented here as victim of a murderous husband and requiring Hamilton
to rescue her from abandonment, is
emphasized along with the scandal's effects on Hamilton and his family. The author has said he mixed fiction
with the facts. One wishes one could always tell which is which.
Polished Tom Aposporos as Gouvernor Morris convinces of
his friendship for Hamilton and understanding of his importance to the nation,
while proving astute in his advice relative to the affair. The strength and
love for husband Lilian Moore demonstrates as Betsy Hamilton makes believable
her willingness to put up with
pressures of keeping an expected kind of household without servants or
enough money. What a responsible
son she has raised, Jason Ellis
shows, as well as righteous anger and hurt over his
father's indiscretions. Articulate Mary Jo Johnson's outspoken Angelica keeps
reminding sister Betsy how she could have wed into riches as she and their friends did. Close to
naturalistic modern characterizations are Brooke Wagstaff's enticing but
enigmatic Maria Reynolds and Barry Look's James Reynolds, her violent, obnoxious, blackmailing husband.
But what is one to make of Mike Phelan's handsome but
stiff Hamilton? Hamilton seems always
at odds with just about every man,
supposedly smart but leaving a love sonnet with Maria at a time rife
with rumors. No danger seems to give Hamilton pause, and Phelan either goes on
gung-ho (mostly talking) or wears a blank expression. He's awkward enough in romantic scenes to project a closeted gay. He acts like an accomplice of the
playwright in a father-son talk
that fails to disguise a load of foreshadowing. Some of these problems need
addressing by the director, along
with pacing. The set shows three places of which one side is Hamilton's study
and center is the parlor. (The other, with small round table,
simply but effectively denotes the Reynolds house.) At times,
movement from one to the other
place is slow, even unnecessary.
It takes too long to make minor changes on the set between scenes. One would also hope that by the
second repertory appearances of the play Angela can get an additional dress.
How can she claim to Betsy to be so much better kept if she wears the same outfit over a considerable
amount of time? (We forgive Betsy and Maria's appropriate lack of fashion.)