"All The Way" with LBJ: A Year in the Life

Is the fascination we have with politics and politicians all about power and those who wield it?

Robert Schenkkan's "All The Way," at the Neil Simon Theatre through June 29th, looks at one critical year in the life of one of  the great political practitioners.

Bryan Cranston and Betsy Aidem. Photo Credit: Evgenia Eliseeva

Lyndon Baines Johnson (Bryan Cranston) was one of the great negotiators in our country's presidential history.  You know the famously effective politician whose arm twisting got legislation passed, but the author posits an LBJ who may have been a better man than his reputation suggests.  Lady Bird Johnson (Betsy Aidem) has a particularly poignant take on LBJ the man in one scene, making it clear that the man was the politician.

Robert Petkoff, Bryan Cranston.
Photo Credit: Evgenia Eliseeva

LBJ took office in November 1963 as "an accidental President" after the assassination of John F. Kennedy. He had just one year to establish his presidency and launch the campaign for the 1964 elections. That year hinged on LBJ's role in the struggle for civil rights. He was left to polish his predecessor's legacy, and create his own. The pressures he faced during that year are history, and as told by Schenkkan it is a compelling and dramatic story.

Bryan Cranston, Brandon J. Dirden  and
Richard Poe in the back.
Photo Credit: Evgenia Eliseeva

There were the rightfully disgruntled factions in the Negro caucus. He also had to deal with the recalcitrant segments of his own party's Dixiecrats, most prominently represented  by LBJ's mentor, "Uncle" Dick Russell (John McMartin), the Senator from Georgia. Hubert Humphrey (Robert Petkoff) of  Michigan was the Senator most sympathetic to the cause of equality for all Americans.

Among the groups of black leaders, Martin Luther King, Jr. (Brandon J. Dirden) is the acknowledged head. He lobbied the President, often through Humphrey, for the assorted black organizations, which included Stokely Carmichael's (William Jackson Harper) radical SNCC and the much tamer NAACP lead by Roy Wilkins (Peter Jay Fernandez).  LBJ not only supported civil rights, but was instrumental in passing legislation to insure that fairness and equality were the law of the land.

Rob Campbell, Susannah Schulman on the desk. On left on floor:
James Eckhouse and on right on floor: Christopher Gurr
Photo Credit: Evgenia Eliseeva

The sets in "All The Way" often depend on projections to identify the locale of a scene. Credit Christopher Acebo for the simple multi-functional scenic design and Jane Cox for the lighting.

The acting, with Bryan Cranston embodying LBJ in an astonishing performance, and Brandon J. Dirden embodying MLK down to the cadences of his speech, is universally excellent. Under Bill Rauch's well-paced directing, the nearly three hours of politics and power go by in a flash; there is not a wasted minute.

Among other standouts in the outstanding cast are William Jackson Harper, Rob Campbell as Governor George Wallace (and others), and Eric Lenox Abrams as Bob Moses (and others.) Michael McKean is a wry and formidable J. Edgar Hoover.


To find out more about "All The Way," please visit http://allthewaybroadway.com/

Saving Blemons in "The Film Society"

Sometimes a politically-inspired play turns out to be remarkably innocent of politics.

So it is with Jon Robin Baitz' "The Film Society," at least in its current Keen Company production.

"The Film Society" is unquestionably apolitical. Although there are some incendiary statements made by several of its characters, the lead, Jonathon Balton (Euon Morton) is strangely  unaffected by any of the turmoil in Durban, South Africa circa 1970.

Despite Terry Sinclair's (David Barlow) avowed radicalism, and Hamish Fox's (Richmond Hoxie) rabid aversion to the progressive, "The Film Society" is dispassionate. Given its setting, "The Film Society" is rife with possibilities for genuine conflict; instead it devolves into a tale of petty manipulation.

David Barlow as Terry and Euon Morton as Jonathon in "The Film Society" at the Keen. Photo by Carol Rosegg.

The survival of Neville Sutter's (Gerry Bamman) derelict boys school is meant to be the meat of the drama.
In its resurrection, the generally unmoored Jonathon is to find purpose. Certianly that is his mother's (Roberta Maxwell) fervent intention.

Mrs. Balton sees her son's future clearly. Can Jonathon abandon his friendships with Nan (Mandy Siegfried) and Terry Sinclair?

There are a couple of exceedingly poetic passages in "The Film Society," although both wax on about unappetizing decay. Surely a connection is to be made there. But neither revolutionary change, nor fettered recalcitrance has a clear win.

Euon Morton is appealingly naive as Jonathon. David Barlow stands out along with Roberta Maxwell in the ensemble because they offer consistent visions for their characters. They also not incidentally are able to hang on to their accents, a nagging problem for some of their fellows, if not for Morton to whom it comes more naturally.

"The Film Society" sets up an opportunity to explore the politics of South Africa that is squandered in the dullness of the first act. "The Film Society" is somewhat redeemed as we proceed to the second, but it continues to suffer from a lethargy.

A Tony win, like Jon Robin Baitz' for "Other Desert Cities" will buoy a production of any of his works. Unfortunately, "The Film Society," with its potential is unfocused, discolored by an apathy that seems unlikely for its place in time.

For more information about "The Film Society," please visit http://www.keencompany.org/home/

Protesting on Stage in "Theatre Uncut"

250 groups in 17 countries have put on "Theatre Uncut" productions.

Moving, intelligent, tightly-written, politically-inspired and inspiring art is not commonly to be found.

In "Theatre Uncut," in a Traverse Theatre Edinburgh production courtesy of The Carol Tambor Theatrical Foundation at the Clurman on Theatre Row through February 3rd, the emphasis is on art.

World-wide fiscal crises and budget cuts for social services are the impetus for "Theatre Uncut," an international movement of stage professionals, dubbing themselves "Theatre Uncutters."

"Theatre Uncut" are plays of protest.

The fantastic U.S. cast all volunteered their time, artistry and talent to perform the six short works on the program.

"In the Beginning" by Neil LaBute. Gia Crovatin and Victor Slezak  Photo by Allison Stock

As might be expected from Neil La Bute, his "In The Beginning" does not tow strictly to a line. He examines the Occupy Movement as it might play out in the living room of an occupier (Gia Crovatin and her well-heeled dad (Victor Slezak.) La Bute questions, and does not come up with any easy answers. "In The Beginning" is thought-provoking and not in the least polemical.

Not that any of the other excellent playlets are polemical.

In Clare Brennan's "Spine," Amy (Robyn Kerr) befriends a brilliantly dotty old lady whose library is appropriated from the stacks of all the closed libraries in the district.

"This situation," says Jack (Brian Hastert) in "Fragile" by David Greig, "is all fucked up and it has to stop." Greig addresses the financial issue in the prologue to his piece (read by Robyn Kerr.) For budgetary reasons, "Fragile," under the direction of Catrin Evans, written for two characters-- Jack and Caroline-- is performed by only one. The audience will cue Jack by reading Caroline's lines.

Tyler Moss in "The Birth of My Violence" by Marco Canale Photo by Allison Stock

"The Price" by Lena Kitsopoulou paints an absurdist tragi-comic picture from the Greek economic meltdown. A Man (Carter Gill) and his wife (Shannon Sullivan) argue over every drachma -- now in Euros-- of expenditure while shopping in a gulag-like supermarket.

The playbill suggests that one request the works for private reading but that would not be half as much fun as watching these superb actors.

Go see "Theatre Uncut" during its short stay. Enjoy the performances in these short offerings. Along with those actors already mentioned, there's Tyler Moss as a disaffected writer in Spain in Marco Canale's "The Birth of My Violence," directed by Cressida Brown, as are both "The Price" and "Spine." Lou (Ali Ewoldt) and Ama (Jessika Williams) are reluctant escapees in "The Breakout" by Anders Lustgarten, and directed by Emily Reutlinger, who also directed "In The Beginning."

The run at the Clurman is a preamble for the "Theatre Uncut 2013 week of international action" scheduled for November. 250 groups in 17 countries have put on this show case of protest everywhere from stages to kitchens.

"The idea began in the U.K. in October 2010, as the Coalition government announced the worst cuts to public spending," co-Artistic Directors Emma Callander and Hannah Price, say in the program notes," since WW2. Fast forward to 2013. Austerity is a buzzword."

To learn more about "Theatre Uncut" or to join the "Uncutters," go to www.theatreuncut.com or email getinvolved@theatreuncut.com. Tickets are available at the Clurman box office at Theatre Row on 42nd Street.