‘Iliad’ is imaginative, but repetitive
Matt Verboys, Weekend
BURBANK -- With the 20th century in the rearview mirror, one can’t
help but inquire how, where and when America lost its innocence. Where
did we go wrong?
A miraculously revived 90-year-old Richard M. Nixon asks himself these
questions throughout the world-premiere engagement of acclaimed
playwright/author Donald Freed’s new play, “American Iliad,” continuing
until July 15 at The Victory Theatre in Burbank.
It’s an imaginative, energetically performed but ponderous satire that
unfortunately blunts its inventiveness and sharp insight with an
overlong, padded-out narrative that eventually becomes repetitive.
The play unfolds on July 4, 2000, as former President Richard Nixon is
about to die. The audience embarks on a surreal trip through Nixon’s
mind as the infamous president (the Willy Loman of the 20th century, as
the play suggests) goes on a quest to clear his name, absolve his guilt
and uncover the moments in history that derailed the country.
His odyssey begins in 1900 at Chautauqua, a near-mythic, idealistic
festival in New York that featured enlightening, hopeful discussions on
everything from science and foreign travel to race relations and
politics.
But as Nixon continues his trip, we see how Chautauqua’s utopian
America never came to be.
He visits with an 80-year-old John F. Kennedy, who is still very much
alive ... and still quite virile, as he demonstrates with his sexy
nurses.
Nixon also shares a duet with a melancholy Marilyn Monroe, reacts in
horror as a very flamboyant J. Edgar Hoover dances with his associate,
Clyde Tolson, and trembles with ignorant fear when he enters Hell, which
is Harlem, and interacts with black revolutionaries.
Essentially, Nixon is effectively used as a metaphor for America’s
20th-century disappointments. Freed rips into American politics and
social issues with a caustic wit that’s laced with truth and meaning.
Problem is, Nixon is familiar, well-traveled satiric ground, and while
the segments all commence in vibrant, imaginative fashion, they
eventually outstay their freshness, hitting points already hit, repeating
laughs that scored bigger the first time around. At three hours, the play
is simply too long.
“Iliad’s” spirited lead performances hold the audience’s attention. Al
Rossi practically channels Nixon, delivering a funny, gesture-packed,
dead-on impersonation.
David Clennon pulls off a tricky feat, ingeniously portraying an
80-year-old JFK as interpreted through Nixon’s mind. Supporting bits run
hot and cold. Diana Costa stands out in small roles as Marilyn Monroe and
Pat Nixon, while Travis Michael Holder offers a wonderfully amusing spin
on J. Edgar Hoover.
Director Maria Gobetti keeps things lively, although the repetitive
nature of the play eventually counters her efforts. Tom Ormeny’s sparse
set and lighting design effectively evoke the supernatural void through
which Nixon journeys.
A handful of songs pepper the proceedings, most notably “The Black
Panther Anthem” -- this is the first time permission has been granted for
its use.
Feed’s play is undoubtedly jam-packed with sharp social and political
commentary -- much food for thought here, as our country embarks on a new
millennium.
“American Iliad” proves to be a journey worth taking. Still, one has
to wonder if a more streamlined presentation wouldn’t have been even more
effective and entertaining.
IF YOU GO?
WHAT: “American Iliad” by Donald Freed.
WHERE: The Victory Theatre, 3326 W. Victory Blvd., Burbank.
WHEN: 7:30 p.m. Thursday, Friday and Saturday and 6 p.m. Sunday,
through July 15.
TICKETS: $22 Thursday and Sunday; $24 Friday and Saturday. Senior and
group discounts available.
PHONE: 841-5421.