Tag: The Originalist

  • Report: ‘Justice for Shylock’ at the Library of Congress

    Report: ‘Justice for Shylock’ at the Library of Congress

    The verdict is in: Shylock–the Jewish moneylender whose trial is detailed in Shakespeare’s The Merchant of Venice–has been exonerated.

    Supreme Court Justice Ruth Bader Ginsburg presided over the appeal, which was held at the Library of Congress and timed to coincide with its exhibition marking the 500th anniversary of the Ghetto.

    Shylock himself was portrayed by Edward Gero, one of the brightest stars of the DC stage and four-time Helen Hayes Award winner. (Gero, in one of those history-making coincidences, can be seen in a different courtroom when he returns to his role of Justice Antonin Scalia in The Originalist at Arena.)

    Edward Gero in a production of Henry IV. Photo by Scott Suchman.

    “Suffering is the badge of all our tribe,” Gero said, as he stood, brows furrowed, before the judges and delivered three of Shylock’s best-known tirades.

    “I am a Jew…I stand for justice…(and) I shall have it,” he concluded, ceding the stage to the lawyer appointed to defend him against the charge of demanding a pound of flesh in repayment of a loan gone sour.

    The pound of flesh was considered, by the original judge, to be equal to attempted murder.

    However, the judge in the original case was Portia, the wife of one of the borrowers, who was impersonating a judge and thus was guilty of deceit. She, too, was up for exoneration.

    Portia’s lawyer, Teresa Miguel-Stearns, came up with the most interesting defense of the trial, which was that her client be discharged on grounds of gender discrimination.

    “My client had very limited opportunities to pursue a career,” Ms. Miguel-Stearns said. “Pretending to be a judge was her way to advance her career as a lawyer.”

    Counsel also pointed out that Portia, by impersonating the judge, saved the lives of both men by preventing Shylock from extracting his ‘pound of flesh’ and for his subsequent execution for it.

    Justice Ginsburg agreed that Portia was learned in the law. “She had to be, to be such a trickster.”

    Amply demonstrating her knowledge of both the law and Shakespeare, Ginsburg raised a number of pointed questions.

    Of Shylock’s forced conversion to Christianity, she asked: “Is this an act of vengeance or a merry sport?”

    “There are many truths in the record,” she said ruefully, at one point, to which one of the other judges, Dean of the Wake Forest School of Law Suzanne Reynolds, replied, “The record, while beautifully written, is thin.”

    Supreme Court Justice Ruth Bader Ginsburg. Photo courtesy of www.supremecourt.gov.

    The idea for the trial came from Dick Schneider, associate dean at Wake Forest, who organized a similar event in Venice last summer to mark the founding of the Venetian Ghetto in 1516.

    Others on the program included David Dangoor, president of the American Sephardi Federation, who confirmed that Shylock–like most Italian Jews today–was Sephardic.

    Michael Kahn, Artistic Director of the Shakespeare Theatre Company for nearly three decades, elaborated on the plot of the play for the benefit of those who had not seen it in a while.

    While the judges were deciding the case, the audience, having been held hostage in the auditorium for two hours without intermission, was prevented from leaving by James Shapiro. The author of Shakespeare and the Jews entertained the crowd with bits of Shylock lore.

    For example, Shapiro explained that it was not true that there were no Jews in England in Shakespeare’s day. In fact, there were about 150 of them, but Shakespeare apparently didn’t know them.

    The speaker also explored hints of homosexuality in the play, suggesting a non-business relationship between Antonio and Bassanio. (There was also the possibility of a threesome involving Portia.)

    Shakespeare’s many lawsuits were explored, but that discussion was cut short by the return of the judges with their verdict.

    Speaking for the majority, Justice Ginsburg decreed that Shylock would get his money back, but without interest, and that the conversion would be cancelled. Portia, on the other hand, would be considered an excellent candidate for law school.

    Running Time: Two hours and 30 minutes with no intermission.

    Justice for Shylock played one performance on June 21, 2017, at the Library of Congress – 101 Independence Ave, SE, in Washington, DC. For information about future events, check online.

  • Review: ‘The Originalist’ at Asolo Repertory Theatre

    Review: ‘The Originalist’ at Asolo Repertory Theatre

    Playing now in repertoire with The Great Society, a stunning new play that New York has not yet seen, called The Originalist, is keeping the good citizens of Sarasota who clearly love good theatre happy. John Strand’s tight and combustible play opened January 20th, and it’s been packing them in ever since.

    Edward Gero as Justice Antonin Scalia. Photo by Cliff Roles.

    Under Molly Smith’s focused direction, Edward Gero is giving a superb performance as the late Supreme Court Justice Antonin Scalia, and the play has great resonance right now when President Trump’s candidate to replace him on the bench is being examined by the Congress. The play first premiered under Molly Smith’s direction at Arena Stage in Washington, DC in the spring of 2015. Because they were in Washington, developing and producing the play, authenticity was everything. Even though it was a play about a real person it was combined with the imagination of the author. It would be playing to audiences that often included other justices who would be knowing and disagreeing or agreeing with the way in which the Supreme Court was being portrayed.

    Others who clerked for Justice Scalia or who knew him personally were available for consultation during the formative days of the play’s creation, and Justice Scalia himself was so impressed with Edward Gero who was playing him that when asked what he was going to do when he retired, answered: “Well, I’ve been thinking that I might do a one-man show about an actor by the name of Edward Gero.”

    And Mr. Gero is indeed giving us a blazing star turn as he brings a palette full of colors to his characterization of this right wing firebrand who earned great respect in his time, for his ability to consider viewpoints other than his own, always determined to protect the intent, rather than the interpretation of the Constitution forged by our founding fathers. He was also feared and called a great monster by some. To do this, MacArthur Award winner John Strand places the polarizing judicial titan Justice Antonin Scalia, and pits him against Cat, a brilliant strong willed African American female liberal law clerk, whose ideals totally clash with his own. He likes her spirit, and admires but disagrees with her values, acknowledging they were formed from a background very different from his own.

    The Originalist is an artful examination of how and if people can ever get beyond their political differences in order to meet somewhere in the middle. If ever a play hits home more than this one does today, I cannot name it. The setting is in and around Washington 2012-2013 term of the U.S. Supreme Court. The bench, the office, the city itself are all neatly captured in the sets and costumes by Misha Katchman and Joseph Salasovich which accommodate Molly Smith’s very fluid staging.

    Edward Gero (Justice Antonin Scalia) and Jade Wheeler (Cat). Photo by Cliff Roles.

    The role of Cat requires an actress who can hold her own in a contest that would seem at first glance to be unfairly tilted toward the Justice, and the man playing him, for they are formidable opponents. But from the moment Jade Wheeler, as Cat, challenges the Judge Scalia from the audience, we are intrigued. This young woman has vast regional theatre experience, but this is her first encounter with Asolo Rep. Her character’s mind is sharp, and try as he does, the Judge cannot shake her convictions or her basic respect for him, though she wishes he could do more than listen to her. She would like it if she could change the course of his discourse, and all l can tell you about the conclusion of the play is that it seemed to me on the nose in terms of honesty, tenderness, toughness, and truth.

    Brett Mack, who plays the much larger role of Senator Robert Kennedy in The Great Society, does a fine job in the supporting part of another of Justice Scalia’s clerks, one who would like nothing better than to remove Cat from the face of the earth.

    There is potent humor in this play as well as great conflict which combine to make The Originalist a candidate for many other productions. If one comes your way, or if you find yourself in the neighborhood of Sarasota during its run there, see this play. It’s enlightening and it offers hope to us in a time when hope is needed.

    Running Time: Approximately 90 minutes, with no intermission.

    The Originalist plays through March 7, 2017, at Asolo Repertory Theatre – 5555 North Tamiami Trail, in Sarasota, Florida. For tickets, call the box office at (941) 351-9010/800-361-8388, or purchase them online.

    LINKS:
    ‘The Originalist’ at Arena Stage at The Mead Center for American Theater reviewed by Robert Michael Oliver.

    In The Moment: ‘The Originalist’ at Arena Stage at The Mead Center for American Theater by David Siegel.

  • Update: The March on Washington for Gun Control Presents “26 Pebbles” on Monday, August 24th at 8 PM at Arena Stage

    Update: The March on Washington for Gun Control Presents “26 Pebbles” on Monday, August 24th at 8 PM at Arena Stage

    26pebblesFinal2

    Monday, August 24, 2015 at 8 PM
    At Arena Stage-In the Kogod Cradle
    1101 6th St., SW
    in Washington, DC 20024
     tickets4603-150x150

    Price: $20.

    Tickets are available at the Arena Stage Sales Office, by phone 202-488-3300, or online.

    Everytown for Gun Safety and the Newton Action Alliance

    announced as beneficiaries for 26 Pebbles

    Nicholas Rodriguez.
    Nicholas Rodriguez.

    Nicholas Rodriguez joins previously announced lineup of notable D.C. actors  for one-night-only reading on Monday, August 24 at 8:00 p.m.

    The March on Washington for Gun Control will present a Benefit reading of a Newtown documentary theater piece 26 Pebbles by Eric Ulloa on August 24 at 8:00 p.m. at Arena Stage at the Mead Center of American Theater directed by Molly Smith. This is a stirring new play that explores the power of community in the face of the tragedy in Newtown, CT and proceeds will benefit Everytown for Gun Safety and the Newtown Action Alliance.

    “To bring 26 Pebbles to our nation’s capital, is an exciting step in further allowing the messages of this play to resonate, bringing it right to the front door of where change is made daily. Opinions are easy to ignore, but this play presents the facts from the very people who lived within this tragedy, its aftermath and the messages of hope they inspire. Hopefully these stories continue to ripple out and eventually make their way through the Capital’s iron dome and into some practical solutions.” – Eric Ulloa

    Nicholas Rodriguez (Oklahoma) will join already announced actors: Edward Gero (The Originalist), Naomi Jacobson (Mary T. and Lizzie K.), Dorea Schmidt (Fiddler on the Roof), Lise Bruneau (Legacy of Light), Hannah Willman (My Fair Lady), and Joshua Morgan (Fiddler on the Roof) reading stage directions. Susan White will stage manage.

    Funds from the reading will support Everytown for Gun Safety and the Newtown Action Alliance.  Everytown for Gun Safety is the largest gun violence prevention organization in the United States with more than three million supporters, including moms, mayors, survivors, and everyday Americans who are fighting for public safety measures that respect the Second Amendment and help save lives.  At the core of Everytown are Mayors Against Illegal Guns and Moms Demand Action for Gun Sense in America, a grassroots movement of American mothers founded the day after the Sandy Hook tragedy.  Learn more at www.everytown.org and follow at @Everytown.

    The Newtown Action Alliance is an action-based grassroots organization that was formed spontaneously by Newtown residents after the tragic shootings at Sandy Hook Elementary.

    They are dedicated to reversing the escalating gun violence epidemic in this nation through the introduction of smarter, safer gun laws and broader cultural change.  Ordinary citizens stepped up to #HonorWithAction to #EndGunViolence by collaborating with families of victims of gun violence and gun violence prevention advocates from across the country, to advance the conversation, and bring common sense to the gun laws in our nation.  The goals of The Newtown Action Alliance are to: support policies and state legislators as they work to pass smarter, safer gun laws; support policies and federal legislators as they work to pass smarter, safer gun laws; and work together with other gun safety organizations towards safer schools, streets, towns, and cities.

    The original steering committee for The March on Washington for Gun Control described the organization in December 2012 as follows: “We are a non-partisan group of concerned citizens who have gathered together to create a March on Washington for Gun Control. We have coalesced around a common cause. For us, the massacre at Sandy Hook Elementary School was a turning point and we believe now is the moment to act. When we stand together, we stand a chance.”

    The March in January 2013 was just the beginning of the organization, as members continue to call, write, email, remain active on social media, and visit their representatives and discuss the issue of gun violence. The March on Washington for Gun Control newsletters can be received via email by signing up at the following link: https://eepurl.com/ued05

    Tickets for the Benefit reading of 26 Pebbles are $20, subject to change and based on availability. Tickets may be purchased online at https://tickets.arenastage.org/single/SelectSeating.aspx?p=22453, by phone at 202-488-3300 or at the Arena Stage Sales Office at 1101 Sixth St., SW, DC.

    Connect with us:
    Facebook: https://www.facebook.com/GunCtrlMarch

    E-News Letter: https://eepurl.com/ued05

    ______

    Posted on August 13, 2015 on DCMetroTheaterArts

    The March on Washington for Gun Control will present a benefit reading of a Newtown documentary theater piece, 26 Pebbles by Eric Ulloa, directed by Molly Smith. This is a stirring new play that explores the power of community in the face of the tragedy in Newtown, CT.

    Gun Control Image

    On December 14, 2012, 20-year-old Adam Lanza fatally shot 20 children and 6 adult staff members at Sandy Hook Elementary in Newtown. The tragedy captured the attention—and broke the hearts—of the entire nation. These 26 innocent deaths—referred to by one Newtown resident as “pebbles thrown into a pond”—created ripples and vibrations that were felt across the country and beyond. Proceeds from this event will benefit the Newtown Action Alliance and Everytown for Gun Safety.

    Playwright Ulloa conducted interviews with residents of Newtown in the months after the tragedy—including shop owners, parents of students, religious leaders, spiritualists, town workers and others who were touched by the tragedy. These interviews create a new verbatim play about the lasting impact of gun violence in a community.

    The cast features some of Washington, DC’s most socially engaged and dynamic actors: Edward Gero (THE ORIGINALIST), Naomi Jacobson (MARY T. AND LIZZIE K.), Dorea Schmidt (FIDDLER ON THE ROOF), Lise Bruneau (LEGACY OF LIGHT), Hannah Willman (MY FAIR LADY), and Joshua Morgan (FIDDLER ON THE ROOF) reading stage directions.

    Molly Smith, one of the organizers of the MWGC, says: “As a private citizen, I am responding to the epidemic of gun violence through Eric’s beautiful play about Newtown. Over 30,000 people die each year from gun violence in America. On a yearly basis we lose more lives from gun violence than the Ebola epidemic in Africa or prostate cancer in the United States. We need common sense regulations now. The right to own a gun is not the right to own any kind of gun.”

    Article from Arena Stage.

    LINKS
    ‘From Broadway With Love: A Benefit Concert for Sandy Hook’ Video Interviews and Highlights by Joel Markowitz.

    The March on Washington for Gun Control Is This Saturday, January 26th at 10 AM.

  • The March on Washington for Gun Control Presents “26 Pebbles” on Monday, August 24th at 8 PM at Arena Stage

    The March on Washington for Gun Control Presents “26 Pebbles” on Monday, August 24th at 8 PM at Arena Stage

    26pebblesFinal2

    Monday, August 24, 2015 at 8 PM
    At Arena Stage-In the Kogod Cradle
    1101 6th St., SW
    in Washington, DC 20024
     tickets4603-150x150

    Price: $20.

    Tickets are available at the Arena Stage Sales Office, by phone 202-488-3300, or online.

    The March on Washington for Gun Control will present a benefit reading of a Newtown documentary theater piece, 26 Pebbles by Eric Ulloa, directed by Molly Smith. This is a stirring new play that explores the power of community in the face of the tragedy in Newtown, CT.

    Gun Control Image

    On December 14, 2012, 20-year-old Adam Lanza fatally shot 20 children and 6 adult staff members at Sandy Hook Elementary in Newtown. The tragedy captured the attention—and broke the hearts—of the entire nation. These 26 innocent deaths—referred to by one Newtown resident as “pebbles thrown into a pond”—created ripples and vibrations that were felt across the country and beyond. Proceeds from this event will benefit the Newtown Action Alliance and Everytown for Gun Safety.

    Playwright Ulloa conducted interviews with residents of Newtown in the months after the tragedy—including shop owners, parents of students, religious leaders, spiritualists, town workers and others who were touched by the tragedy. These interviews create a new verbatim play about the lasting impact of gun violence in a community.

    The cast features some of Washington, DC’s most socially engaged and dynamic actors: Edward Gero (THE ORIGINALIST), Naomi Jacobson (MARY T. AND LIZZIE K.), Dorea Schmidt (FIDDLER ON THE ROOF), Lise Bruneau (LEGACY OF LIGHT), Hannah Willman (MY FAIR LADY), and Joshua Morgan (FIDDLER ON THE ROOF) reading stage directions.

    Molly Smith, one of the organizers of the MWGC, says: “As a private citizen, I am responding to the epidemic of gun violence through Eric’s beautiful play about Newtown. Over 30,000 people die each year from gun violence in America. On a yearly basis we lose more lives from gun violence than the Ebola epidemic in Africa or prostate cancer in the United States. We need common sense regulations now. The right to own a gun is not the right to own any kind of gun.”

    Article from Arena Stage.

    LINKS
    ‘From Broadway With Love: A Benefit Concert for Sandy Hook’ Video Interviews and Highlights by Joel Markowitz.

    The March on Washington for Gun Control Is This Saturday, January 26th at 10 AM.

  • In The Moment: ‘The Originalist’ at Arena Stage at The Mead Center for American Theater

    In The Moment: ‘The Originalist’ at Arena Stage at The Mead Center for American Theater

    Arena’s resident playwright John Strand has developed an affectionate, quite delightfully complex, fictionalized account about Supreme Court Justice Antonin Scalia. Strand’s The Originalist has plenty to chew on thanks to the confident direction by Arena’s Molly Smith and a small cast anchored by Edward Gero as Scalia and Kerry Warren as Cat, Scalia’s fictional, progressive-minded law clerk.

    Edward Gero as Supreme Court Justice Antonin Scalia. Photo by  C. Stanley Photography.
    Edward Gero as Supreme Court Justice Antonin Scalia. Photo by C. Stanley Photography.

    Both Gero and Warren are buffed-up up for what is an animated, often fiery, argumentative evening of verbal fluency and debate about the Constitution and each other’s heart and soul. Who knew that a reasonably balanced, verbally fluent and often enough legal language- based examination about the Constitution with pithy attacks by two characters could be so appealing?

    The Originalist works overtime to humanize the two verbal warriors providing a number of interior, personal aspects to them. For passionate stalwarts on either side of a heated American political spectrum, be forewarned; this is not an evening of Rocky-like standing with arms held high in victory, but of punches, counter punches, jabs and a few clinches. There are no long-count knockdowns and no knockout or even a TKO as the two verbal pugilists go at it. Even if they are in vastly different weight classes, both Gero and Warren go the distance. Any end of bout decision is left to you as ring judge. Oh, and there is one stock character dirty fighter; but he is part of the undercard for the main event.

    The play is set in the Supreme Court term that ended in June 2013. The Originalist is an impressionistic journey over a great deal of terrain climaxing with issues centering on the Supreme Court’s 2013 decision to overturn Section 3 of the Defense of Marriage Act (DOMA) by a 5 to 4 majority in United States v. Windsor. The decision declared it “a deprivation of the liberty of the person protected by the Fifth Amendment.” The DOMA decision clarified for federal law the operative meaning of the terms “marriage” and “spouse.” (While not specifically mentioned in the play, it is not insignificant to note that DOMA was signed into law by then President Bill Clinton in 1996 with this signing statement.

    Justice Scalia was in dissent in the 2013 DOMA ruling and issued a ripping written opinion. In the fictional The Originalist, Scalia’s law clerk Cat advises him to add a dozen words or so, not to change his dissent in substance, but to give a kinder, gentler framing to his staunchly-held views. The non-fictional, Supreme Court decision is here.

    Gero is a raging bull presence. Over the course of the play Gero, as Justice Scalia, provides what is behind his view point about being an Originalist.  He speaks often that the Supreme Court should and must follow the original meaning or intent of the framers of the Constitution. When Warren, as Cat, pushes back with real life examples to counter a text-driven approach, she is greeted with the spicily presented remark that “passion is no match for the text.” Through it all the two, passionately and pugnaciously, debate using whatever they have in their arsenal.

    As Justice Scalia, Gero performs with a wide, joyously presented litany of brusque, condescending, swaggering, taunting and biting exposition. Overall, Gero pushes and pokes with an attitude toward Warren of “argue with me…come on, give me your best stuff.” His examples to Cat of strong fighters are names such as Hillary Clinton and Justice Ruth Bader Ginsburg. Yet there are moments in scenes when his manner is softened into a truly caring fatherly-figure attitude.

    Warren, making her Arena Stage debut, comes across as sharp, confidant in her legal stance and far from awe-struck even though she is required to use “Sir” or “Justice” when addressing Gero’s Scalia. As the production progresses, she makes clear she is on “his team,” working with that as her mantra as she prepares Court material for him. Heck, her fictional journey includes learning to play cards and becoming proficient with a semi-automatic weapon.

    The only other character in the production is Harlan Work who plays Brad, a conservative foil to Cat. Cat and Brad are the same age, but he is a member of the Federalist Society. His character is written as a somewhat stock character type. He comes across as a “suck-up” not unwilling to use whatever means necessary to get his way. A strangely configured “food fight” between the two that gets out-of-hand is the major physical action in the play.

    The designers have given Gero sumptuous operatic music to accompany his entrances courtesy of Sound Designer Eric Shimeloinis. There is a minimalist set design that used a thrust stage for Arena’s Kogod Cradle with desks, a few chairs, some heavy red curtains, two large chandeliers and some theatrical uses of a small stage elevator from Set Designer Misha Kachman. Lighting by Colin K. Bills is especially effective as a mood setting devise when The Originialist moves from Constitutional arguments to scenes of the personal and human.

    I want to lay out two issues that are not small “buts,” that distracted me even in its fictional history. These could be based on my own long-time experience in this town working with elected and appointed officials.

    I found it difficult to accept that a Supreme Court Justice would hire someone to a clerkship who is so clearly and totally opposite in viewpoint.  In a town in which loyalty and trust can matter as much as competence, it just doesn’t feel on point. Would such a vast difference in viewpoint as depicted in The Originalist really allow for easy trust and loyalty in such a charged and secret atmosphere as the Supreme Court? Really? I am just not convinced. Now, if Justice Scalia would write and let me know that such is possible, I will withdraw my dissent.

    Also, the play is focused on two individuals in such a major, unequal power relationship. The play seems to gloss over that in its own way. The reason that the political play Nixon’s Nixon worked for me is that the protagonists, Nixon and Kissinger, were closer to each other in so many attributes. Scalia and Cat just aren’t.

    (L to R) Edward Gero as Supreme Court Justice Antonin Scalia, Harlan Work as Brad and Kerry Warren as Cat
    (L to R) Edward Gero as Supreme Court Justice Antonin Scalia, Harlan Work as Brad and Kerry Warren as Cat

    So bring your own understanding and ideas of Justice Antonin Scalia to the Arena’s Kogod Cradle and decide for yourself. Let The Originalist challenge your current beliefs. Perhaps it will help us all evolve, that current DC au currant word.

    Arena wins praise for taking a risk in creating a fictional drama about a Justice Scalia. It is accomplished in a manner that invites you and engages and does plenty more. See it and then go out an argue about it not with friends who hold the same opinion as you do, but with someone you know and personally like but who sees things a bit differently.

    Running Time: One hour and 45 minutes, without an intermission.

    The Originalist plays through April 26, 2015 at the Kogod Cradle at Arena Stage at the Mead Center for American Theater – 1101 Sixth Street SW, in Washington, DC. For tickets, call the box office at  (202) 488-3300, or purchase them online.

    LINK
    The Originalist review by Robert Michael Oliver on DCMetroTheaterArts.

    RATING: FOUR-AND-A-HALF-STARS8.gif

  • ‘The Originalist’ at Arena Stage at The Mead Center for American Theater

    ‘The Originalist’ at Arena Stage at The Mead Center for American Theater

    Over 2500 years ago, Aristophanes put “living” contemporary power-brokers into his comic masterpieces and then skewered them with their own foibles. The results were scandalous and provocative.

    Then the power-brokers forbade the practice, for obvious reasons; the practice has remained forbidden for thousands of years, particularly as the Roman Empire and its descendants spread their reign terror throughout Europe and the world.

    In John Strands’ new play, The Originalist, at Arena Stage’s Kogod Cradle Theatre, Supreme Court Justice Antonin Scalia steps center stage. Fortunately for Scalia, Strand does not skewer “the monster,” as he is jokingly called, but humanizes him.

    Kerry Warren as Cat and Edward Gero as Supreme Court Justice Antonin Scalia. Photo by C. Stanley Photography.
    Kerry Warren as Cat and Edward Gero as Supreme Court Justice Antonin Scalia. Photo by C. Stanley Photography.

    He transforms this judicial reactionary who sees money as speech, healthcare as a privilege, unions as the enemy, gay folks as Sodomites, and liberals as worthy of the deepest pit of hell, into a veritable Teddy Bear with a tin heart.

    You might not agree with Arena or John Strand’s assessment of the man and his legacy — as I don’t — but you will definitely leave this excellent production with a profound sense of just how powerful drama can be at shaping our perception of leaders and the world.

    In Antonin Scalia’s way of seeing the world, performed with lovable bombast by Edward Gero, “the text” exists only on its original parchment, written as it were in the blood of its authors. Hence, the play’s title, a reflection of Scalia’s judicial philosophy, originalism.

    Only the author’s historical intent will reveal the text’s true meaning. Akin to way zealots interpret sacred text within fundamentalist religions, Scalia looks at the U.S. Constitution as an-end-in-itself, a sacred language without human repercussions.

    Thus, for Scalia, the meaning of “A well regulated militia being necessary to the security of a free state, the right of the people to keep and bear arms shall not be infringed” is rooted not in the existence of the QBZ-95 Assault Rifles or school shootings where dozens of 1st graders are butchered by a teenage but in self-regulated and self-equipped American Minutemen who pick up their long rifles and, using guerrilla-style tactics, win independence by defeating the imperial British army.

    Strand pits his original originalist, Scalia, against a young “flaming” liberal, lesbian, African-American law clerk named Cat. Kerry Warren’s Cat matches Gero’s Scalia heart to head so to speak, in a fierce knockdown debate.

    The script ultimately shifts from a generalized debate about Scalia’s legal philosophy to his stance on DOMA, (Defense of Marriage Act). Scalia asks Cat to write his legal opinion on DOMA and the morphing of teacher and student begins.

    This head versus heart struggle forms the essence of the script, allowing Scalia to make his top-notch legal arguments as Cat makes her emotional appeals, be it for the victims of gun violence or for gays wanting to marry.

    This head versus heart struggle is also the script’s central flaw in that it does not allow Cat to really argue against Scalia on legal grounds. All she is allowed to do is make emotional appeal after emotional appeal. It is as if Scalia and, thus, reactionary Republicans, have the only sound legal argument in the debate whereas liberals are left to pluck heart strings and moan about people’s suffering.

    Edward Gero as Supreme Court Justice Antonin Scalia, Harlan Work as Brad and Kerry Warren as Cat in The Originalist. Photo by C. Stanley Photography.
    Edward Gero as Supreme Court Justice Antonin Scalia, Harlan Work as Brad and Kerry Warren as Cat in The Originalist. Photo by C. Stanley Photography.

    Ms. Warren’s performance is superb, however, allowing her “artsy” Cat to appear as fiercely intellectual. Thus, the audience remains engaged by her emotional counter-punches even if they are without legal support.

    The third character in Strand’s drama is one of Cat’s fellow Harvard graduates, an ambitious young Republican named Brad. Harlan Work gives the conservative idolizer of Scalia all the sap necessary to contrast his chicken-hawk wimpishness with her fiery passion. Given a choice over personality and character, it is easy to see why Scalia would choose Cat.

    Ironically, however, Brad with his privileged, moneyed existence is exactly the kind of person that Scalia’s judicial “philosophy” will end up empowering: the rich continue to get richer and the privileged continue to gain more privilege while the weak and poor continue to slip into utter invisibility without the money to “speak.”

    Molly Smith directs, and the pace of the show is spot on perfect; its varied levels of tension and humor never weary the audience.

    Her design team has also done an excellent job. Set Designer Misha Kackman has transformed the Kogod into a thrust stage with chandeliers, and a solid oakish desk, and a firing range. Colin K. Bills has joined in as lighting designer, contributing a locale: a light created hospital room with bed. Joseph P. Salasovich’s costumes add local color and a theatrical flare.

    If you didn’t know the truth about contemporary America, you’d leave the theatre thinking that the Republicans and their passionate ideology were losing ground in the 21st century. Of course, we all know that the truth is exactly the opposite; they are not only in control of almost all the legislative state houses and court systems locally and nationally, but when they win the presidency in 2016, their domination of the American political system will be complete. An American oligarchy will have won.

    In reader response theory the text exists only as ink on paper. Rather, the real text — the one where those symbolic words take on meaning — that “text” takes shape somewhere between the printed words on the page and in the reader’s mind. In that shared space, the meaning of language becomes tangible.

    Certainly, something similar takes place in the theatre. We see the show unfold, and the playwright and the production team offer us their vision of the world.

    Like Scalia, we too can be originalists; we can see the production as definitive, with the artists’ intentions being the final word.

    Or we can practice a little audience-response theory and talk back to the artists: we can tell them when their good intentions might not serve their hoped for results.

    Is this lovable, pure-hearted Scalia really what they want us to see? Do they really intend to say that a victory over DOMA means that the reactionaries have been stopped?

    Do liberals need to put it all on the line — learn how to fire a gun and bust a few heads?

    Edward Gero as Supreme Court Justice Antonin Scalia and Kerry Warren as Cat in The Originalist. Photo by C. Stanley Photography.
    Edward Gero as Supreme Court Justice Antonin Scalia and Kerry Warren as Cat in The Originalist. Photo by C. Stanley Photography.

    Running Time: One hour and 45 minutes, without an intermission.

    The Originalist plays through April 26, 2015 at the Kogol Cradle at Arena Stage at the Mead Center for American Theater – 1101 Sixth Street SW, in Washington, DC. For tickets, call the box office at  (202) 488-3300, or purchase them online.

    RATING: