Gore
Vidal has been an American expatriot and brilliant political curmudgeon for
years now. This elegant and verbal revival of his elegant and verbal political
1960 play reminds us that he was doing "West Wing" drama before that
television show was conceived. Wherever he lives, Mr. Vidal offers much to
inform the contemporary American political scene. In the vein of Lindsay and
Crouse's earlier "State of the Union" but more parsimoniously
conceived and delivered, "The Best Man" as presented by Remy
Bumppo Theatre Company and directed by James Bohnen provides a look at American political party
process through its quadrennial convention politicking, and the roles the back
stage arm twisting, side deals, smarmy innuendos, and simple fear can play.
This is also at its core a story of how there is always room for simple ethical
individual backbone. A stunning revival of a timeless story.
And
the story is simple: two political candidates (the particulars of party
intentionally are left murky) are vying for their party's nomination. William
Russell (David Darlow) has been a cabinet Secretary in a prior administration and knows
the ex president Arthur Hockstader (played stunningly by Gene Janson in the performance I attended).
His eager and younger opponent Joseph Cantwell is played with chilling,
helmet-haired, and rigid backed determination by James Krag. Wives and female politicos
enter and leave -- and there is something of the "State of the Union"
marriage in the Russell team, but the play does not focus on the original core,
the original spark between these two marital survivors. Staff lackeys enter and
exit, and the supporting cast is stalwart and serves the script well. Yet the
play is centered and revolves around these three men. Who will earn the
ex-president's vote of approval? Will sordid stories from either of the
candidate's pasts be revealed? What is, in the end, a political persona and who
in the end is the "best man"?
David
Darlow's Russell physically impresses as "In Like Flint" meets
"A Thousand Clowns", a man of handsome middle age who is secure in
his own beliefs and uncomfortable with the shadings and compromises that are
often necessary in public life. James Krag embodies the upright, forthright,
Eagle Scout, repressed, sanctimony of cold war politics that continues in
different forms today. The confrontation of these two characters and these two
actors is mesmerizing theatre.
The
set design by Tim Morrison contains an efficiently pivoting hotel suite bedroom,
evoking two identical, perhaps mirror imaged, suites occupied by the two
candidates at the convention hotel. The set is simply and effectively dressed
with campaign posters, Time/Life magazine cover mock-ups, and black and white
images of generic political convention hooplah.
Some
of the best lines continue to ring long after the curtain is down. Cantwell
argues that ends justify the means of getting into political office.
Ex-president Hockstader replies to the earnest Cantwell "there are no
ends, Joe, only means." Ex-president Hockstader prods and observes the two
candidates, and it is a surprise which way he leans with his endorsement. As he
notes at the time he reports his decision: "Power is not a toy we give to
good children" And Russell delivers a line to his junior Cantwell that
represents every silver haired survivor's amazement at self assured
inexperience: "I like how you state the obvious with a real sense of
discovery."
All
aspects of the production design and direction and performances keep our focus
clearly and intensely on the concepts presented in this play and the dialogue
used to discuss them. This is a timely and timeless play, and a lovely and
respectful and provocative production.