Boffo smash or miserable flop?
Once again, in terms of political theater, the President has managed to flummox both critics and angels alike. Reviews of his State of the Union Address have been more mixed than a Cuisinart stuck on puree. Notwithstanding the ritualistic 79 applause breaks by his Greek Chorus, the production could best be described as a work-in-progress. Nowhere near Pulitzer Prize Luncheon territory; but not destined for a trip to Joe Allen’s flop wall either.
Think Tony & Tina’s Wedding with added intellectual posturing.
Producers of the rival big show in town, Burning Down the House, immediately dismissed Obama’s script as more radical agit-prop dramaturgy, but most independent scribes saw it as an old-fashioned sports melodrama, featuring a beleaguered coach and a locker room halftime speech invoking the spirit of his old friend Sputnik while exhorting the team to pull together and defeat the villainous adversary, Doctor Deficit. Lesson being, if you’re going to borrow, steal from the classics.
Production values remained high with costumes and sets ably handled, but the choreography was listless and hackneyed. After the huge pre-show publicity push, the cast opening-seat scramble seemed silly and superfluous and, as the night wore on, the ensemble’s dance steps deteriorated into a space best described as clumsy and clichéd.
There were fleeting moments of mad genius as the President flashed his trademark Messianic zeal, but all momentum fizzled whenever he tap-danced around specifics in wooden numbers that reeked of the fuzzy and familiar: “The State of the Union is Strong but Could be Stronger,” “Investment is Like Spending, Only Better,” and what was surely intended to be the rousing curtain closer, “Win the Future.” They didn’t exactly bring down the house, but backers have to be encouraged by the large percentage of audience members humming the tune on the way out, and in the days since.
Only registered ogres could deny the vaguely uplifting feel of the creaky vehicle. And they did. The Friends of Ogres (Republican Party) responded to the blurry optimism with not one but two overly scripted political procedurals, as rising stars Paul Ryan and Michele Bachmann stared into nearby cameras spewing enough doom and gloom to make Arthur Miller look like Neil Simon. Commedia dell’ arte with a scythe. King Lear without the happy ending.
It is doubtful in these quarters the show will be able to sprout legs and spawn any road company action. And spin-offs and sequels are out of the question right now. Then again, the Tonys are lurking, and prospects for an extended run could hinge on whether that “Win the Future” theme is catchy enough to snatch the show an Original Score nomination. Considering the old-timey Reaganesque/Clintonian vibe given off by the whole thing, it’s a virtual lock for Best Revival.
San Francisco based political comedian, Will Durst, writes sometimes: this is one example. Coming soon from Ulysses Press: Where the Rogue Things Go! Pre- order your copy from Amazon.com.