Review: One Flea Spare (Eclipse Theatre)

  
  

Eclipse tightly weaves sexual and cerebral dark comedy

  
  

Darcy (Susan Monts-Bologna) and Bunce (JP Pierson) in Eclipse Theatre's production of "One Flea Spare” by Naomi Wallace, directed by Anish Jethmalani.  Photo by Scott Cooper

  
Eclipse Theatre presents
   
One Flea Spare
   
Written by Naomi Wallace
Directed by Anish Jethmalani
at Greenhouse Theater Center, 2257 N. Lincoln (map)
through May 22  |  tickets: $28  |  more info

Reviewed by Dan Jakes

Charles’ Law: confine elements together, turn up the heat, watch them expand. Prevent them from expanding, and you watch them burst.

It’s a basic principle of chemistry, and a loose outline for any drama in which characters are trapped together during a crisis. The heat, per se, in Naomi Wallace’s 1995 play is in part the Great Plague that ravaged London during the 17th Century, L-R: Morse (Elizabeth Stenholt) and Darcy (Susan Monts-Bologna) in Eclipse Theatre's production of "One Flea Spare” by Naomi Wallace, directed by Anish Jethmalani. Photo by Scott Cooper.and in part the class and sexual inadequacies of her characters: a wealthy couple quarantined inside their home, and the two poor, desperate scavengers who sneak in for shelter.

Twenty five days into a preventative lockdown with boards and a guard (Zach Bloomfield) sealing the couple’s walls and windows, a young servant disguised as a wealthy man’s daughter (Elizabeth Stenholt) and a sailor (JP Pierson) inadvertently extend the couple’s incubation stay from three more days to a full twenty eight. Tensions quickly escalate.

The plague is only the backdrop in Wallace’s story—to some of these characters, it’s more or less a nuisance than a crisis. The real threats within the estate are offenses to each others’ presumptions and social sensibilities: sexual bargaining, class warfare, homoeroticism…One Flea Spare explores these tasty ideas with a steady mix of poetry and prose, absurd comedy and claustrophobic tension.

Even with violence always looming, and several onstage nods to penetration, the experience is more intellectual than visceral. It’s always satisfying to think about, if Morse (Elizabeth Stenholt) in Eclipse Theatre's production of "One Flea Spare” by Naomi Wallace, directed by Anish Jethmalani. Photo by Scott Cooper.only mostly fun to watch. Underneath the play’s linear-plot exterior lies a mosaic play’s heart, mashing together styles and tones, sometimes with enlightening results; other times, the product is more convoluted.

Director Anish Jethmalani is able to help keep the show grounded in places where Wallace doesn’t, knowing not to overwhelm the tightly packed text. Her straightforward and precise staging provides clarity to themes that could easily otherwise be murky. The cast does likewise. This small ensemble is exceptional, especially Brian Parry as the proud, aging, and sometimes oafish house master. Susan Monts-Bologna achieves sympathy without victimhood as his oppressed wife, and JP Pierson conveys a sense of maturity that’s found somewhere in between a young man’s idealism and an adult’s surrender to reality.

  
  
Rating: ★★★
  
  

Morse (Elizabeth Stenholt, center) introduces herself to William and Darcy Snelgrave (Brian Parry and Susan Monts-Bologna) in Eclipse Theatre's production of "One Flea Spare” by Naomi Wallace, directed by Anish Jethmalani. Photo by Scott Cooper

 

All photos by Scott Cooper

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REVIEW: Eclipse Theatre’s “Democracy”

Democracy Is a “Lite” and Casual Affair

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Corporations have been enthroned and an era of corruption in high places will follow.  –Abraham Lincoln, 1864

Eclipse Theatre presents:

Democracy

adapted by Romulus Linney
directed by Steven Fedoruk
thru December 20th (ticket info)

reviewed by Paige Listerud

Lincoln saw it all coming, but could he have anticipated an America as rife with corruption as it was under his leading general? Henry Adams’ novel, Democracy, which forms one half of Romulus Linney’s adaptation, (the second being Adam’s novel, Esther, based on his wife) came from the disillusionment Adams experienced under Ulysses S. Grant’s administration. Idealistic and eager for reform, Adams pinned great hopes upon the rough, honest and honorable military man.

Democracy05 Disillusionment followed hard and fast upon Grant’s 1868 election—September 24, 1869 saw the dawn of Black Friday, a panic brought about by James Fisk and Jay Gould’s attempts to corner the gold market, as well as the severe misjudgments of Grant and his Secretary of Treasury George Boutwell to stop them. Investigation revealed the involvement of the President’s brother-in-law, Abel Rathbone Corbin, but Grant’s association with Gould alone would have brought the scandal right to the door of the White House. In a prominent English journal, Henry Adams anonymously published an article on the scandal, hoping it would be picked up and reprinted often in the American press. It was, but Fisk and Gould never faced prosecution. The crash of Black Friday crippled the American economy for years afterward.

The most corruption Linney’s play touches on is the Whiskey Ring, involving Grant’s appointee General John H. McDonald and Grant’s own private secretary Orville E. Babcock. Even here, Linney only satirizes Grant’s alcoholism and his expurgated testimony. The play doesn’t mention that Grant fired special prosecutor John B. Henderson when he denied Grant’s wishes to hold Babcock’s trial in military court. Grant’s replacement, James Broadhead, not only allowed Babcock to be acquitted but also closed out all the other cases involved.

Material that could provide for four or five satires goes missing from both Adams’ novel and Linney’s adaptation. It becomes quite clear that we are dealing with American History Lite. But what Adams would not bring up out of a sense of delicacy or fear of reprisal, Linney most likely avoids out of our culture’s collective ignorance. If lite is the only way we can take it, all the worse for us, since forgetfulness like that can only leave us wandering in a fantasy theme park of a country–as make-believe as the fictions surrounding George Washington of which old Mrs. Dudley (Barbara Roeder Harris) disabuses the other characters on their day trip to Mt. Vernon.

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Who knows how much anyone is paying attention–since Senator Silas Raitcliffe (Jon Steinhagen) is wooing the recently arrived, beautiful young widow, Mrs. Lee (Rebecca Prescott), and young Episcopal minister Reverend Hazard (Stephen Dale) is in hot pursuit of Mrs. Dudley’s daringly bohemian niece, Esther Dudley (Nina O’Keefe). Director Steven Fedoruk keeps things light at Eclipse Theatre’s upstairs studio and focuses mainly on “who’s zoomin’ who.” He’s assembled an excellent cast in that case, able to handle the unevenness with which Linney has cobbled together Adams’ two novels.

The greater burden may be in portraying the younger couple–given their issues with mortality and proving improvable faith. Linney’s writing also doesn’t provide much in the way of romance for O’Keefe and Dale to connect with. But both actors do maintain the control needed to make their characters’ religious disputes personal and to temper the material’s overweening histrionics.

Democracy07 Linney’s adaptation allows the rest of the cast far more fun. Diplomat Baron Jacobi (Larry Baldacci), lobbyist Mrs. Baker (Cheri Chenoweth), and Mrs. Dudley are a hoot, as we say out here beyond the Beltway. Ron Butts and Sandy Spatz make an amusingly backwoods Mr. and Mrs. President, although why Butts doesn’t push Grant’s alcoholism further is anyone’s guess.

Sen. Raitcliffe and Mrs. Lee explore and expound their passions for politics as much as for each other. They form an arguably perfect pair, since each may be as ethically compromised as the other. Steinhagen, who recently played Judge Brack with sinister sophistication in Raven Theatre’s Hedda Gabler, throws out villainy for the blinkered guilelessness that Henry Adams wrote for the novel’s character—a man who regards “virtue and vice as a man who is color-blind talks about red and green.”

Why neither novel nor play delve much into Mrs. Lee’s ethical colorblindness remains a conundrum, since Raitcliffe throwing away millions of votes makes for less of a wake-up call than Raitcliffe receiving a bribe for his party. Could Mrs. Lee be the quintessential American—less likely to grasp political transgressions, but more able to understand the personal ones, like an errant blowjob or two? As Raitcliffe declaims during one of Mrs. Lee’s parties, politics in a democracy can only be as pure and honest as the people it comes from. A little more sophistication on the part of the American people couldn’t hurt either. A sucker may be born every minute, as another 19th century figure was fond of saying, but we should at least try to have the next generation of suckers be smarter than the last.

 

Rating: ★★★

 

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