We accompanied the Lady de Gloves to see the opening night of Born Yesterday at American Players Theatre (APT) in Spring Green, Wisconsin. We encourage you to go to APT any time you have a chance and especially to go “up the hill.” Up the hill is to the Hill Theatre cut into the top of a hill in the woods. Some evenings when the lights go out the stars are spectacular. Other evenings, like ours, it gets amazingly black. You do have to worry about rain but it is worth the chance.
APT has developed a talented Core Company over the years. We got to see two of the stars shine despite the clouds: Colleen Madden as Billie Dawn and David Daniel as Harry Brock. Colleen was wonderful as the ditzy show girl turned into an intellectual with a ditzy touch by a writer at The New Republic. She gets to wear great styles to stunning effect. The late forties must have been when The New Republic drifted away from the Progressive cause because the reading list he prepares pays homage to the Founders. David is the most disgusting cut-throat capitalist you could imagine. He is ill mannered in speech, manners, and behavior as well as poorly educated and dishonest. Every moment he is onstage you loath him. Compared to him The Donald is a model of decorum.
One interesting part of viewing Born Yesterday was the audience. Spring Green is close to Madison and Madison has a well deserved reputation. Our first take was that it was a typical bad businessman story was influenced by the audience. Make no mistake, Harry is one of the most antagonistic antagonists but the play is much more than that. We think is makes important statements about rights, education, and power.
The first point is that even folks as loathsome as Harry have their rights. We forget if Billie or the writer is responding to the legality of Harry’s project by saying we’ll change the law. Here the protagonists have forgotten their principles, specifically rule of law. Rights are not rationed by niceness.
The second point is about education. Billie’s education is a classically liberal one with documents from the Founders and classics from writers Charles Dickens. Billie’s education compares well to most university curriculums today. We think that important point was missed by the audience.
The third point is about power. At the end Billie has Harry in her power. Is she any better than Harry? We don’t want to resolve that point but as a point of comparison go see Shakespeare’s The Tempest. Prospero is more magnanimous than Billie. It doesn’t mean that Billie is bad it just shows her humanity.
It is an excellent play in a great place with wonderful performances. Go see it.
Kevin Williamson is on the Venezuela beat at NRO. It has the electronic marker of socialism-always-fails. Nice. Do read the whole thing. Kevin channels Jonah’s new book (the review is currently in the works) when he concludes about the aberration of capitalism’s great enrichment of humans:
That’s because being rich is temporary. Countries, like families, can go from shirtsleeves to shirtsleeves — and it need not take three generations. As the Scots say: “The father buys, the son builds, the grandchild sells, and his son begs.” A nation that is not building is on its way to begging. Venezuela is already there.
In a 2006 poll conducted by the University of Chicago, Venezuelans led the world in national pride. One wonders what they would say now, if they weren’t too terrorized to speak. It is difficult to be proud when you are scared, hungry, and miserable.
Funny thing: The second-proudest nation in that poll was the United States.
We need to avoid Venezuela. As many folks have pointed out the problem with socialism is socialism. It never works as NRO points out. The problem with capitalism is capitalists. Capitalism works but capitalists, like Harry Brock in Born Yesterday (another review from APT in the works) make folks reluctant to embrace capitalism. Keep reading Kevin will help us make the critical decisions.
Yesterday we accompanied the Lady deGloves to an event at American Players Theatre (APT) and we taught a lesson in a beautiful fashion. We taught a similar lesson, less elegantly, about 20 years ago. To explain why we need to explain the analogy between APT and the university.
Brenda DeVita, the APT artistic director, was meeting with a group of supporters ostensibly to plan a season at APT. The real lesson was: we really appreciate your support but you can’t have the plays you want because of all the constraints.
We faced a similar situation a couple of decades ago when accounting majors were in extraordinarily high demand. Every firm wanted to be the first on campus so they could get the top candidates. The Department worked with Career Services to create Accounting Career Expo (ACE) on Monday evening and Accounting Interview Days (AID) to follow immediately. That way we could avoid no.
The analogy is that APT is very much like a university. The comparisons are
Brenda is the department chair
The Core Company is the (tenure track) faculty
Other actors are academic staff
Directors are deans, albeit of one production
Supporters are supporters
Financial constraints are that seats must be filled
Brenda’s job is more complicated than a chair’s because almost all university performances are one-man shows while her shows are larger and often much larger. The nature of the chair and her position, however, is the same. Both of them have folks with awesome but not unlimited skills and often substantial egos that must be allocated to certain shows. The Core Company or the faculty gets first consideration. Other actors or academic staff fill needs and come and go. Director and deans always have big ideas. Both of them need to fill seats. Both need to add new supporters without alienating continuing supporters. Both need to accomplish much without much authority. Agreements are reached by discussing, convincing, and cajoling. We saw these attributes yesterday.
APT provided us with a nice dinner, plied us with alcohol, and brought in some of the performers to meet us (we met James Ridge who is wonderful as Cyrano) before moving into the Touchstone Theatre to design a season of APT. They encouraged and got lots of input and put together a season. Then they dropped “the math” on us. The plays most folks like have lots of actors. Not every actor can play every part. Actors can only do a few plays a season. There must be a Shakespeare comedy because “it is the gateway drug to the theatre”. We’re not sure if everybody got it but the point was clear: You can’t always get what you want.
We learned the lesson and are more aware of the constraints than almost anyone but still want to see Arsenic And Old Lace at APT. It only has 14 characters and the new stage will give them access to the Panama Canal. Our casting is almost complete but we are have trouble with Dr. Einstein.