November

Critiqued by Holly Bartges

It’s not too late, well almost, but there is still time. If you haven’t yet scheduled in the Avenue Theatre’s production of David Mamet’s play November, you have this weekend. If it hasn’t been already, it should be classified as one of the funniest plays to cross the boards this year.

November now showing at the Avenue Theater.

With a grand set, designed by Richard Pegg, resembling the Oval Office, November takes you inside those hallowed walls to reveal what really goes on behind closed doors. Charles Smith, a man in a suit, attempts to be re-elected as the President of the United States. He just needs to dance around and with one small problem: no one cares for him very much. He has been advised there is no money left for serious campaigning. He’s as nervous as a drop of oil on a hot fry pan.

Kevin Hart takes on the presidential man-in-suit stylized neurotic, sporting pasted on expressions, spouting bold, clichéd quotes from his father’s dinner table excursions as though he just thought of them himself right on the spot. Hart mastered the clichéd image in grand-styled detail. He’s hysterical before he even opens his mouth.

Directed by Bob Wells, it’s fun to imagine just how hilarious rehearsals must have been, knowing his perfected improvisational rehearsal technique.

Although Mamet’s November doesn’t quite reflect the current political atmosphere, what it does brilliantly reflect is the hidden assumption many hold close and dear to what they think goes on behind political closed doors. Past experiences now engraved in historical documentation and reports from nosey newsmakers only verifies what might be and could be giving the audience permission to laugh out loud. Some of the jokes may be old and tired, but because they are expected, they become funnier than when they were brand new. The execution of humored attack by the cast is richer than King Midas’ treasury.

Besides not being liked very much by anyone, besides no one caring about what he does or doesn’t do, besides not having money for his campaign, besides pretending he has control of everything, he control of nothing, the man in a suit, Charles, has some very important work to accomplish. Somehow, Archer, another man in suit stunningly played by James O’Hagan-Murphy tries to keep a straight and serious face as the Chief of Staff. Wrapped up in his own lopsided ego, Charles doesn’t acknowledge credence for Archer’s cynicism, but O’Hagan-Murphy has meticulously orchestrated a loyal staff member meshing with one who knows and understands the truth. Not an easy stance to portray, but he’s “funnily good” and hysterically on target.

Problem Number One for Charles: he has a speech that needs to be written and his Speechwriter, Clarice Bernstein, a lesbian, just returned from China that morning at 3:00 AM having adopted a Chinese baby. Who Cares? He needs his speechwriter now. What? She adopted a what? “Aren’t we at war with China?” Hart throws Charles into a tizzy with the greatest of ease.

Problem Number Two for Charles: a representative of the National Association of Turkey and Turkey By-Products Manufacturers deliciously played by Daymond Caylo waits in the outer office with two turkeys to be pardoned from having to play a significant role in Thanksgiving festivities.

November at the Avenue Theatre

With minute calculations, Charles wants $760.00 a turkey just to pardon them. Horrified Turkey Man walks out. OK, no problem. What if Americans didn’t eat turkey on Thanksgiving, What if they ate pork? With political staunched protocol, Archer carefully reminds Charles this idea might not set well with the Jewish Community. OK, then what if they could convince the American public the Pilgrims didn’t eat turkey on that First Thanksgiving, they ate Tuna? What difference does it make that Tuna live in the Pacific rather than the Atlantic? Now Charles needs an Indian to convince the American Public the Pilgrims ate codfish that were known as Tuna.

Dwight Grackle, a Native American, gets very funny stereotypical engineering through the able assistance of Michael R. Duran.

Clarice, with a loud unwieldy cold agrees to come into the office. Yes, she will finish the needed speech on one condition: that Charles wed her and her partner. He doesn’t have the authority to officiate a wedding. Laura Norman nearly steals the show at moments as Clarice. Some of her funniest moments are when Charles is embroiled with Turkey Man on one side, Dwight on the other, and Archer attempting to keep order, Clarice props herself against a wall nearly undone by the horrendous cold.

Charles’ lack of power isn’t going to stop her. She returns in a wedding gown. Her partner waiting in an outer office, she’ll finish the speech after Charles has performed the ceremony.

There’s no such thing as taking one thing at a time. Turkey Man comes and goes with one crisis after another, Dwight tries explaining it’s not possible to convince the American public the first Thanksgiving featured codfish, and Clarice works her manipulative hand through coughs and sneezes. In the outer office the turkeys develop their own problems, the television crew anxiously wait the filming of The Pardon. The three-ring political circus collides with itself inside the "ovaled" office,

Because of the nature of the political jabs, Mamet’s careful brilliant writing, the expertise of the actors, and the astute direction, the Avenue’s production of November stands as one of the funniest shows to come off the boards. There’s room to appreciate the constant calamity while reading between the lines. This production of November produces one hilarious laugh, giggle, and snicker after another.

The time may be short, but what waits at the end of the effort is worth far more than King Midas’s golden desire.

November
Regional Premier
By David Mamet
Directed by Robert Wells