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God's Plot Robert Avila Playwright-director Mark Jackson excavates a bit of deep history for Occupy USA, an episode in the annals of colonial American theater and jurisprudence that played, and plays, like a rehearsal for a revolution — this time with music. Capping Shotgun Players' 20th anniversary season of new work, God's Plot comically animates and literally underscores (through song, and irresistible banjo and bass accompaniment courtesy of Josh Pollock and Travis Kindred) the story surrounding "Ye Bare and Ye Cubb," a play performed in 1665 Virginia but now lost. The legal battle that engulfed this satire of the English crown and its economic and political domination of the colonies was an early instance of the close but little acknowledged relationship between art and politics in proto-American society, with much too of religious conflict in the mix (personified here by a powerfully smoldering John Mercer as closet-Quaker Edward Martin). The playwright, a brash self-inventor named William Darby (a sure, charismatic Carl Holvick-Thomas), colludes with a disgruntled merchant (Anthony Nemirovsky) and a former indentured servant climbing the social ladder as a new tenant hand (Will Hand). Darby, meanwhile, is secretly wooing — and even more, being wooed by — Tryal Pore (an ebullient, magnetic Juliana Lustenader), a young woman even braver and more outspoken than he. As an expression of her novel and unbridled spirit, Tryal alone breaks into song to express her feelings or observations. Her temperament is meanwhile a source of worry to her father (a comically deft Kevin Clarke) and mother (Fontana Butterfield), but also attracts an unwitting suitor (a compellingly serious Joe Salazar). The play's overarching narrative of nationalist ferment, which reaches an overtly stirring pitch, thus comes mirrored by the tension in two dramatic triangles whose common point is the precocious, golden-throated Tryal Pore. More of the private drama might have served the overall balance of the play, but a good part of the achievement of director Jackson and his generally muscular cast is making a complex play of enduring ideas and conflicts look so effortless and fun. |
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