Berkshire Theatre Group, Stockbridge, MA
through June 30, 2018
by Mary Fernandez-Sierra
In his eloquent playwright note for “Church and State,”
Jason Odell Williams defines his view of the reason for writing: “…to speak to
each other’s hearts.”
With fine acting and subtle artistry, the play gives voice
to Williams’ heartfelt vision. This show is a triumph, particularly due to its
strong cast, production values and wonderful script; it is moving and amazing
theatre.
Photo by Emma Rothenberg-Ware |
"Church and State" tells the tale of a senator who starts to
question his core beliefs, political career, and marriage – just hours before
his bid for re-election. His wife and campaign manager, as well as the media,
become tangled in his effort to untangle himself. There’s plenty of comedy as
well as drama woven everywhere in the play: as the playwright also states,
“Comedy and tragedy are not two ends of a single line, but two points right
next to each other on the same circle.”
As troubled southern senator Charles Whitmore, Graham Rowat
is utterly convincing, charming and heartbreakingly human. He draws the
audience in to understand and empathize with his conscientious struggles
regarding religious faith, controversial lawmaking and political aspirations,
as well as his personal challenges with a strongly opinionated and passionate
partner.
Judy Jerome gives a powerhouse performance as the Senator’s
wife Sara. This actress runs an incredible gamut from conventional politician
expected-wife behavior to Southern-belle hissy fits, down-home wisdom and more
than a little feminism and independence. Jerome’s monologue about her husband’s
legislative amendment is a masterpiece.
Keira Naughton, portraying Charles’ campaign manager Alex
with just the right amount of frenzy and frankness, is superb. Her comic
timing, delivery and the sensitivity with which she responds to both the
senator and his wife as the play develops, are a joy to behold. She is a
perfect foil to both Charles and Sara, bringing reality, humor and perspective into the story.
Much applause and admiration are due to Andy Talen,
performing several smaller pivotal roles. Talen is a true trouper, portraying
each character uniquely and skillfully. His wonderfully understated water
bottle speech as Tom is one of the highlights of the production.
The skill of director Charlotte Cohn is seen everywhere in
this production. The movement is centered, natural and intimate, bringing the
audience right into the heart of the drama. The main characters are never
preachy, though several semi-sermons are delivered throughout this powerful
script. She uses a light director’s hand in dealing with some heavy themes,
allowing the words and ideas to shine as much as the fine performances.
Subtle colors, moods and images are evoked, thanks to
designer David L. Arsenault’s elegant sets and lighting. Sharp-looking
contemporary costumes by David Munn truly enhance the characters, and the
beautiful and effective video and projections designed by Alex Hill add even
more to the visual artistry of this production. Sound designer and resident
composer Scott Killian’s seamlessly adds background tunes at just the right
moments throughout, and well-crafted crowd noises during campaign speeches.
Bravo!
If it’s true that the devil is in the details; this
production proves that there are also angels. It is rare to find a show in
which so much careful attention has been given to virtually every aspect of a
production, each component in harmony and sync with the other.