Theater Reviews

Mar 6, 2006 - Nevada Rep’s American premier of “Myth, Propaganda and Disaster in Nazi Germany and Contemporary America”

By Jack Neal

America in conflict with itself is the theme that propels Australian playwright Stephen Sewell’s “Myth, Propganada and Disaster in Nazi Germany and Contemporary America.” The controversial play, which opened Friday night (3/3/06) at the Redfield Studio Theatre on the University of Nevada, Reno campus, is not easy to take.

Playing to a stream of consciousness that Franz Kalfka used so effectively in his novel “The Trial,” Sewell’s rambling script takes on more punch in reflection than it does upon its initial viewing. Frankly, even though my sympathies are on the side of the playwright, I found the experience tiresome. It’s after having the experience sink in the morning after that “Myth, Propganada and Disaster” begins to have an impact as an, if not an important theater piece - at least a provocative one.

Revolving around Talbot, a college professor in a decidedly liberal political mold, Sewell spins his tale of the young professor’s disintegration through brutality and terror with unrelenting pessimism. That it takes the United States to task for losing track of the great principles that have made America the beacon of hope for the world’s oppressed is not the play s downfall. Nor that it portrays a good share of Mr. and Mrs. America as being dismissive of the plight of others as long as they are safe and comfortable. Never mind the erosion of privacy and freedom of thought. What is most bothersome in Sewell’s unfolding litany of anguish is that it’s not more revelatory, that it’s not more insightful, that it s not more free of political cliche. In other words the play is often little more than trite, when it needs to be consistently emotionally involving and inexorably profound.

Regardless, director James Bernardi must be credited for providing the first viewing of Sewell s play for American audiences. A play about freedom of thought on college campuses, when freedom of thought on college campuses and elsewhere in America is under attack, is enormously timely. Under Bernardi’s shrewd direction this highly cinematic play clicks off with uninterrupted dispatch providing performances that range from good to excellent.

Ryan Palomo does yeoman’s duty as the harassed and tortured Talbot. Any problems with Talbot as the play s central character are not Palomo s but the playwright’s. There’s only so much an actor can do with words - in this case a staltifying barrage of obscenities - supplied by someone else. Angela Sonner gives a creditable performance as Talbot’s wife, Eve. But, once again, the play gives an audience little reason to care much about Eve. She’s a pawn in unfolding events and not a particularly loyal one until it’s too late.

Rie Takeuchi stands out in the pivotal role of Margurite, Talbot s persistent student. Is she the play s culprit, or is she, too, just a pawn in unfolding events? Nicholas Stanton is Max, hardly Talbot’s best friend. If Max is heavy-handed, it isn t Stanton s fault. He delivers what he’s asked to deliver and does it convincingly. Brady Hess plays the very Kalfkaesque The Man, the play s heavy, with searing realism.

Hopefully history isn’t poised to repeat the nightmarish existence of Hitler’s Third Reich. At its best “Myth, Propaganda and Disaster in Nazi Germany and Contemporary America” is a wakeup call for America to grab hold of who America used to be and once again lead the world toward a brighter, less oppressed future. These are troubling times and Sewell s play is a red flag of warning.

The Nevada Repertory Company’s production “Myth, Propaganda and Disaster in Nazi Germany and Contemporary America” can be seen at the Redfield Studio Theater on the University of Nevada, Reno, campus, 900 North Virginia Street, Reno, Nevada, March 3, 4, 8, 9, 10, 11 (2006) at 7:30 p.m. and Sunday, March 12 at 1:30 p.m. For information call 775-784-4278.