Washington politicians fare poorly in smart, funny 'Lincolnesque'

By: PAM KRAGEN - Staff Writer | Wednesday, August 16, 2006 11:54 AM PDT ∞

In John Strand's smart new political comedy "Lincolnesque," a dull U.S. congressional candidate leaps in the polls after his speechwriter cribs inspirational phrases from Abraham Lincoln. While many of the set-ups in "Lincolnesque" strain credibility, it's not such a stretch to imagine that a politician with Lincoln's moral rectitude could inspire today's voting public.

The Washington, D.C., of Strand's play ---- now in its world premiere in the Old Globe's Cassius Carter Centre Stage ---- is a cannibalizing cesspool of backstabbing and corruption that drives its most ambitious citizens to the brink of madness and beyond. That's what happened to the play's lead character Francis, a brilliant ex-policy wonk who suffered a breakdown and now believes he's honest Abe himself.

Under the medical supervision of his younger brother, Leo (a wimpish speechwriter who's cracking in the pressure-cooker world of politics), Francis feels it's his responsibility to "emancipate" them both from the immoral capital city and retire to the Lincoln family homestead in Springfield, Ill. Leo agrees to go to Springfield only if Francis will secretly help him write the candidate's speeches ---- which borrow liberally from Lincoln's inaugural, congressional and Gettysburg addresses.

Strand's dialogue is natural, tightly written and continually funny. He also makes some pointed observations of contemporary American politics ---- particularly the ethical and moral differences between the noble Lincoln and his less-than-noble modern counterparts. Francis explains to Leo that Lincoln was the Shakespeare of American politics, a man who inspired with the elegance and power of his words and ideas. "The common man needs heroes," Francis advises, "Let his words be taller and he shall be, too."

What still needs work in "Lincolnesque" are some of the characters and situations.

It's impossible to believe that Leo's plagiarism (from the best-known political speeches in American history) would go unnoticed by the mainstream media for some nine months. And it's an elaborate contrivance to have Francis work as a janitor for Daly, a campaign counsel for the politician Leo's candidate is running against. A plot thread involving the overdose death of a mentally ill former Washingtonian also goes nowhere, but it does serve as a poignant reminder about how the city chews up and spits out its finest minds.

Some characters could also be softened or given a few extra layers. Leo's boss Carla, the chief of staff for the congressional campaign, is too one-dimensional as a soulless, sexually aggressive dragon-lady. And the character of Daly, the campaigner who befriends Francis then uncovers the speechwriting secret, takes a hairpin personality turn that feels sudden and out of character.

Director Joe Calarco has assembled a very good cast, though on opening night some of the characters were still finding their focus.

T. Ryder Smith is exceptional as the mentally ill Francis. He bears more than a passing resemblance to the beardless Lincoln, but doesn't attempt to imitate him. Rather, he blends the legendary Lincolnian aura of gentleness, quiet grace, calm under pressure and kindness with the physical poses we associate with Lincoln's photographs (stiff-legged stance, hand gripping a coat lapel). And his resonant delivery of Lincoln's best speeches inspires the same admiration today as it must have nearly 150 years ago.

Leo Marks is a bundle of nervous energy, perfectly suited for the role of his like-named character, Leo, a speechwriter so undone by the stress of his job that he's developed a stutter. Marks' physicality and boyish innocence are a good match for this part of a young man struggling to stay afloat in a big man's world.

James Sutorius melts so invisibly into his dual roles as the dapper lawyer Daly, and a bedraggled mentally ill man who Francis befriends, that it's hard to believe it's the same actor in both parts. Serpentine Magaly Colimon does her best with the difficult character of Carla, but her performance seems outsized to those of the other characters in the play.

Chris Rynne's lighting is notable, particularly in his clever use of columns of light to represent the stone pillars that anchor monuments all over Washington D.C. And Michael Fagin's in-the-round set design incorporates the words of Lincoln's best-known speeches. Reading Lincoln's words inscribed on the walls, and hearing them spoken anew by Ryder, confirms Francis's observation, that in times of war ---- be it the Civil War or today's struggle in the Middle East ---- Americans need a hero like Lincoln to inspire them.

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