U.S.A. Fireworks are in order!
⊆ July 4th, 2006 by courtney | ˜By: Debbie Minter Jackson
U.S.A ~ American Century Theater
Under the fast-paced direction of Jacqueline Manger, U.S.A is now in full production at American Century Theater (ACT), simply the best place for this enjoyable homage to the American spirit. A stage adaptation of classic work by political novelist John Dos Passos energized with music, movement and dance, this kaleidoscope of experiences defies simple description, and that’s just the sort of nebulous region where ACT works best.
The story line consists of a series of rather disjointed vignettes containing fractured views of the American Experience 1899-1930 as lived by “ordinary” everyday citizens. Also, via a central character, J. Ward Moorhouse, we explore “the emerging power of the capitalist state” through the pursuit of the individual. There are some historical standouts, of course, and the play has a great time describing the humble beginnings and accomplishments of the Wright brothers, Isadora Duncan, Henry Ford, and even Rudolph Valentino, interspersed between the theatrical story lines of several key characters. What comes across is the ordinariness of these celebrities who had hopes and dreams like regular folks, and also serious flaws and shortcomings but they persevered, got a break or two, and were able to ride the great waves of the American Dream. The play evens the playing field so that covering family turmoil down the road seemed as significant as the latest spectacular events covered in newsreels.
Special kudos to the media designers responsible for discovering and displaying the old footage, specifically sound by Brendon Vierra and projection by James G. Champlain. From the opening shots of a young bustling New York City to images of factory output of Model T’s, to the sands of Kitty Hawke, the stills reinforce the appreciation of a far-away-time and are an integral part of the play’s success.
There’s not a lightweight in the talented U.S.A. ensemble and in true American fashion, all get a chance to shine. What Bruce Alan Rauscher can accomplish in a glancing expression or a physical tweak is always a treat, the hilarity even more pronounced here with the cascade of characters presented. Kim-Scott Miller can bounce between being a kid and father-figure nimbly portraying each character with touching humanity. Evan Hoffmann is a natural portraying the “everyman” character, maturing effortlessly through the ages, as does Amy Quiggins with her cherub face, sparkling eyes, and cupid lips of the roaring 20s. Monalisa Arias can belt out a song like nobody’s business and has a good time taking on serious, dour Ruth Buzzi (Laugh-In) expressions. Patricia Hurley who initially seems more reserved and less expressive shines as Isadora Duncan, moving gracefully with uplifted arms and gorgeous long neck draped beautifully by that damn scarf.
Covering the nation’s span of history that heralded the industrial revolution, commercial flight, harnessed electricity, the automobile assembly line, seeds of segregation, and the devastating effects of world war is no easy task. U.S.A. is apparently usually performed in staged readings rather than an on its feet production– it’s easy to see how the piece could spread out of control. Hats off to director Jackie Manger who captures the lightening quick pace of invention and discovery of the period, and breathes life and vitality into every scene. She certainly keeps the cast members on their toes, even down to choreographing the dance and movement steps appropriate to each decade, dusting off the obligatory waltz and the Charleston, but also adding the fox trot and box steps in between.
The marketing collage for U.S.A doesn’t do this production justice since it goes far beyond early WW soldiers in foxholes. It’s true that war and rumors of war permeate the piece, fill the newsreels, and the devastating effects are symbolized in the creation of the Tomb for the Unknown Soldier. Still, true to its name, U.S.A is large enough to encompass that and more, and does so with brilliant ingenuity, in true American form at ACT.
