Transition #4
Constitution & Tonys
The closing moment of Heidi Schreck’s extraordinary What The Constitution Means To Me functions as a sort of hand-off, or a passing of the torch. It comes after the play has shifted gears to a parliamentary debate between Schreck and a teenage debater (Rosdely Ciprian or Thursday Williams, trading off) over the fate of the Constitution of the United States. One side argues to keep the Constitution, the other to abolish. After the debate has concluded, the play is over. But before we go home, Schreck tells us that she and Rosdely/Thursday like to finish by asking each other a few questions.
Then the lights shift.
Schreck speaks earlier in Constitution of feeling inspired by today’s younger generation, saying they are more tolerant, more open-minded, and give her hope for great change on the horizon. While the play is careful to not place all that pressure entirely on Rosdely or Thursday’s shoulders, a teenager stepping on stage is a nod to that hope.
It is also an acknowledgment, on Schreck’s part, of the limits of theater. Her work has opened our eyes to the limits and failures of our founding document, and the need for a momentous shift. But this play won’t make that change happen. Our young people, maybe, possibly, will.
The final Q&A in darkness is a beautiful conclusion that brought tears to my eyes at New York Theatre Workshop, and still does now in Marielle Heller’s expertly directed filmed version (available today on Amazon). It is also, right now, more than a bit painful to dwell on.
When I saw Constitution at New York Theatre Workshop, the Brett Kavanaugh hearings were underway. The show’s unexpected topicality off-Broadway was intensely challenging, but it also functioned as a sort of release. Schreck’s play confronted our grim reality while also, in those final moments, looking towards a brighter future. Kavanaugh’s confirmation was an unfathomably horror, but we still (maybe delusionally) were looking for reasons to not give up, to keep on fighting. So I walked out of Constitution feeling a heavy weight, yes, but not total hopelessness.
Now, Amazon is dropping the filmed Constitution on the eve of Amy Coney Barrett’s all-but-certain confirmation to replace Ruth Bader Ginsburg. It would feel obnoxious to again say that Schreck’s piece, perfect as it is, helped me “work through” my feelings about this confirmation, or gave me renewed hope. The truth is that it just made me desperately sad.
The younger generation will perhaps save us eventually, and momentous change may come. But right at this moment, that’s a grim notion more than a hopeful one. The burden being passed off to Rosdely and Thursday is profoundly unfair. Constitution is a tremendous piece of theater; and yes it looks hopefully forward; and yes it should. Still, there is a reason Schreck chose to conclude this filmed version with an audience vote to abolish. During the Broadway run, that was the far less popular option - 57 audiences chose it, versus 123 to keep. Hope is still good, but right now, maybe rage is better.
The Tonys! Uh, they’re weird.
I’m glad for the record love for Slave Play and its immensely deserving cast. I’ve gained more affection for some elements of The Inheritance on reflection, especially its gorgeous staging, so it’s nice to see that work recognized. David Cromer’s masterful direction of The Sound Inside deserves Tony love for sure.
Moulin Rouge is a sadly empty commercial vessel into which many, many talented theatrical artists poured their considerable talents to little effect. Its lifelessness only makes the Tonys’ unnecessary hostility towards The Lighting Thief (which I enjoyed, with reservations) sting all the greater - especially in the Best Actor category. Aaron Tveit was hella-snore in Rouge, while Chris McCarrell brought a wonderfully manic, subtly queer energy to Percy. He deserved a nomination.
I would have liked a Will Hochman nod for The Sound Inside. He was great.
It’s hard to get all that worked up about any of this. I agree with the sentiment of celebrating this season’s work rather than letting it go by unacknowledged. But the key question is how the American Theatre Wing and Broadway League utilizes the online ceremony. If the Wing effectively seize the opportunity to advocate for an industry in desperate straits, then I’ll be thrilled. If not, well, another innovative virtual piece will be around the corner to make me feel hopeful again.