REVIEW: Defamation (Canamac Productions)


Strong intentions elevate predictable stereotypes



left to right are Rob Riley, AEA (as Judge Barnes), Bernie Beck, AEA (as defendant Arthur Golden), Shariba Rivers (as the defendant’s lawyer Ms. Allen), Steven Pringle (as the plaintiff’s lawyer Mr. Lawton), and Jacquie Coleman (as plaintiff Regina Wade), in Todd Logan’s “Defamation,” a Canamac Productions world premiere courtroom drama in a limited run at three Evanston, Illinois, houses of worship, directed by Richard Shavzin.  In the scene pictured defendant Golden is on the witness stand being questioned by his attorney, Ms. Allen.

Who steals my purse steals trash; ‘tis something, nothing;
Twas mine, ‘tis his, and has been slave to thousands;
But he that filches from me my good name
Robs me of that which not enriches him,
And makes me poor indeed.

            –Iago, Othello Act 3, scene 3, 155-161


Canamac Productions presents
Written by Todd Logan
Directed by
Richard Shavzin
various church locations, Evanston
through November 7  | 
tickets: $20  |  more info

Reviewed by Paige Listerud

Todd Logan designed his world premiere play, Defamation, to be staged at various church locations in Evanston–the better to provoke conversation about where we are about race and class today. Richard Shavzin directs this courtroom drama in which the Chicago area forms the template for all relations between its characters.

Regina Wade (Jacquie Coleman) is a tough African-American businesswoman, raised in Lawndale, preferring to reside in Bronzeville, who sues prominent realtor Arthur Golden (Bernard Beck), a wealthy resident of Winnetka, for the downfall of her business, due to his public accusations that she had stolen his heirloom watch. Both parties, through their lawyers, never deviate from their cross-accusations of each other. The audience must vote after closing arguments on who has made their case.

left to right are Shariba Rivers (as the defendant’s lawyer Ms. Allen), and plaintiff Jacquie Coleman (as plaintiff Regina Wade), in Todd Logan’s “Defamation,” a Canamac Productions world premiere courtroom drama in a limited run at three Evanston, Illinois, houses of worship, directed by Richard Shavzin. But does the audience vote on the case or on the racial dynamic put so clearly before them? It’s difficult to say, since Logan’s text gives them plenty of room for doubt. Ms. Wade might have lost her business because Golden slandered her among mutual clients. Or she might have lost her business due to another fiercely competitive company that undersold her products and services. Golden may have lost or misplaced his watch or it perhaps it has been stolen by someone else, but his unfamiliarity with a black woman in his own environment may have led him to think of her as the primary suspect. Logan allows ambiguity to rule. Instead of being a courtroom drama that unravels mystery and establishes the truth, the audience is left with their own conjectures over who did what and why.

As a source for discussion, the play is solid and enjoyable. It’s cast is strong, the acting personable, the direction simple and to the point. If all who show up are just the post-Obama crowd, who think that African Americans now have nothing left to complain about, then Defamation makes for good social tonic.

However, as drama, Defamation relies excessively on stereotype. Complete with a crotchety old judge, showboating lawyers, and a rich realtor more Jewish than Jesus, Defamation’s characters emerge direct from central casting. The production hangs on just as fiercely to that relatively new American stereotype, the Strong Black Woman.

left to right are Jacquie Coleman (as plaintiff Regina Wade), giving direct testimony to Steven Pringle (as the plaintiff’s lawyer Mr. Lawton), in Todd Logan’s “Defamation,” a Canamac Productions world premiere courtroom drama in a limited run at three Evanston, Illinois, houses of worship, directed by Richard Shavzin. In fact, one could re-name this play “The Battle of the Strong Black Women,” since the racial game played in the court pits Golden’s lawyer Ms. Allen (Shariba Rivers) and lawyer-witness Lorraine Jordan (Demetria Thomas) against Ms. Wades’ claims to innocence. Not that I don’t enjoy watching strong black women duke it out with each other, and these three actresses definitely give good dramatic conflict, but theirs is a battle that gives more heat than light.

Furthermore, it’s a game in which no one is fooled. Everyone knows Mr. Golden has hired a black woman as his lawyer to defeat any allegation of racism or sexism. Everyone knows Ms. Wade’s white lawyer, Mr. Lawton (Steven Pringle), has probably been hired for a similar reason. Racism has become all too predictable in American culture; likewise, defenses against racism emerge predictably. Sadly, that level of stale predictability dooms Defamation to being an interesting exercise, but not something that awakens and enlightens its audience—either to a more nuanced racial dynamic today or to a way out of our present racial malaise.

Rating: ★★½   

Extra Credit:


REVIEW: Number of People (Piven Theatre Workshop)

Beck is #1 in this one man show


Piven Theatre Workshop presents:


Number of People

Written and directed by Emilie Beck
At Noyes Cultural Arts Center, 927 Noyes St., Evanston
Thru April 11th (more info)


By Katy Walsh

8, 11, 6, Leo Gold is a numbers guy. His wife is an eight. His daughter is eleven. And his concentration camp bunkmate is a six. Piven Theatre Workshop presents Number of People, a Holocaust survivor’s recollection of moments of his life. Leo Gold lived through the attempted annihilation of the Jewish people. Now, he is enduring the death of his wife and the onset of Alzheimer’s. In the past, a fixation on numbers has given him sequential order. From the muddled recesses of his mind, numerical disarray leads to total recall. Humans exterminating a segment of the population is unimaginable, undeniable, and unforgivable. How is it survivable? As a statistician, Leo counts on numbers, ‘a 1 is always a 1.’ Number of People is an ordinary man’s jumbled memoirs of his extraordinary life story.

Bernard Beck plays Leo Gold as an average Joe. He is a grumpy old guy waiting on his daughter to pick him up. Mr. Beck is understated and un-heroic in his portrayal of Leo Gold, maintaining that Leo Gold as a ‘regular corny joke telling’ nobody. It’s this established foundation that springboards to poignant discourse as Leo’s slipping self-containment is pried open. He relives amazingly horrific episodes of inhumanity.  There is a true sense from Mr. Beck’s performance that these stories are only being recounted because of the Alzheimer’s. Leo Gold is no longer able to focus on the numbers for a reality escape. His infliction forces nightmarish reminiscence; he’s particularly unforgettable in a moving scene with rainwater and numbers on a painting.

Emilie Beck is the tri-fecta of success as the playwright, director and daughter of Mr. Beck. As the playwright, she has brilliantly pieced together stories to chronicle Leo Gold’s life. She highlights his ordinary and sometimes disconnected relationship with his wife. Ms. Beck showcases Leo’s confusion and detachment with descriptive passages. Whether it is a matter-of-fact description of a hundred hanged Jews or delightful musings over drinking beer at lunchtime, she gives Leo’s imagery equal importance. It is powerful glimpses of one man’s startling existence.

Number of People uses a minimal set with a surprising utilization of books. There is a room behind a room which works to establish Leo’s confused state of mind. Although music transitions his stories back to his number fascination, the song choices and cues seem simplistic and forced. It’s the only integer that doesn’t quite add up in a tightly constructed ninety minute oration of the unexpected depth of experience suppressed behind a man’s numerical defense mechanism.


Rating: ★★★


Running time: Ninety minutes with no intermission



Noyes Cultural Arts Center

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