The New Theater J through March 22
(202) 518-9400
A friend once told English poet William Wordsworth he thought "Character of the Happy Warrior" Wordsworth's greatest poem. "No," replied Wordsworth, "you are mistaken; your judgment is affected by your moral approval of the lines."
Wordsworth's retort came to mind after a recent performance of the New Theater J's updating of "Waiting for Lefty," Clifford Odets's labor-agitprop classic, which opened in 1935 to 22 curtain calls and a 45-minute standing ovation. Ambitious and occasionally inspired, magnificently staged, with a passionate and energetic cast under the fine direction of Shira Piven, Theater J's "Lefty" still left the impression that the play's initial success owed more to its Depression-era audience's "approval of the lines" than to its quality as theater.
The original "Lefty," written a year after a New York cabdriver strike, includes five scenes supporting the strike, interrupted here and there by vignettes demonstrating the equal unfairness of capitalism towards white-collar professionals. Simplistic, preachy, cynical about unions and management alike, with cartoon characters and positive references to communism, the original "Lefty" seems firmly rooted in its era. One line even describes a husband and wife as "stalled like a flivver in the snow."
The folks at Theater J added six new scenes set in the present, collectively called "Still Waiting." These scenes demonstrate the persistence of the issues in the original play (the workforce today has about the same percent of union members, 13%, as it did in 1935).
"Still Waiting" follows the structure of the original, not always to its advantage. As with the original, some of the new scenes relate to an actual labor dispute, in this instance an action by janitors culminating in a protest outside Theater J's own home, the DC Jewish Community Center. As with the original, unrelated scenes interrupt the story line.
Some of the new scenes work very well. In the evening's opening scene ("Labor Now"), a collage of contemporary voices, on subjects ranging from HMO's to the recent Teamsters election, leads smoothly to an excerpt from the 1930s Harold Mayer film "The Inheritance," which in turn effectively sets up the first scene of the original play.
As the original "Lefty" unfolds, however, a few modern scenes poke through, including an obscure satire featuring a conservative pundit sitting in a Dupont Circle Cafe. A later scene, also interrupting the original, did a fine job of introducing the story of the janitors' protest, but could've more effectively waited until after the original's ending. When the original does end, a wonderfully allegorical scene, comparing a modern strike to a slowly-crashing aircraft, returns us to the present, and the story of the janitors. The sequel's authors made that story compelling; they should've stuck with it, instead of adding an unrelated scene about the difficulties facing DC cabdrivers today and another scene parodying today's get-rich-quick hucksters. These superfluous scenes made the evening, at just over two hours, seem long.
The original "Waiting for Lefty" ends with a report of the shooting of one of the cabdrivers, sparking the remaining drivers' rhythmic yells for "Strike!" Shots also ring out at the end of "Still Waiting," but instead of inspiring calls for labor unrest they lead to a funeral procession, as the cast-- carrying a symbolic casket--sings a dirge for the union movement and slowly makes its way up the aisles. By contrast with the upbeat, energizing ending of the original, the sequel's ending seems subdued, almost mournful.
Director Shira Piven makes imaginative use of the small performance space at the Cecile Goldman Theater and the even smaller assortment of stage props. Several cast members stood out, especially Lucinda Hart-Gonzalez, sympathetic as the janitor who leads the protest; Jerry Gough as a sleazy union secretary and a pompous theater producer; and, in several smaller roles, Michael Wikes, Andrew Wynn, and Cleo Pizana.
Theater J, under new artistic director Ari Roth, deserves much credit for reviving and updating this landmark of twentieth century American theater. Anyone with a serious interest in American theater history--or American labor history--should make an effort to see "Waiting for Lefty/Still Waiting." Just don't expect too much.
For further information about DC Jewish Community Center programs or The New Theater J season call (202) 518-9400
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