Reviewed 3/5/05
It takes a gifted playwright to make both sides of a compelling issue equally understandable and maddeningly defendable. That is the case with Thomas Gibbons, whose Permanent Collection pits two strong adversaries against each other, and makes it awfully hard for us to completely condemn or support either one. In these times where a single word can indict someone, no one is immune from the charge of racism. However, the locale of Gibbons’ tale is not one you would expect: the foundation of millionaire impressionist art collector Alfred Morris (Lee Moore) charged with following to the letter his peculiar will. The production mounted by Arizona Theatre Company and helmed by it’s Associate Artistic Director Samantha K. Wyer sets the troupe back onto its path of offering excellent productions of worthy scripts.
In this corner, Gibbons offers Sterling North (Robert
Jason Jackson), an eloquent, social-climbing African American corporate executive
who has been tapped by an African American university to become the Director
of the Morris Foundation. He is not an art historian, but he is cultured,
well-spoken, and strong-willed. He feels it is his job to affect change.
In the other corner is sophisticated, snobby, art-obsessed Foundation long-timer
Paul Barrow (Bob Sorenson). Paul understands the current configuration that
his mentor has established which includes a few examples of African art,
but is dominated by white artists. He feels it is his job to respect the
original vision, despite many more African pieces that remain in storage.
When reporter Gillian Crane (Patti Davis Suarez) quotes Sterling as saying
that this exclusion could be considered racist, the Foundation threatens
to split itself.
Wyer and her designers set up the perfect tone for the evening. The pacing is measured and Wyer uses all of the stage to great effect. She has drawn full and rich characterizations from all of her cast. There is nothing rushed, and that helps us settle into the growing tension and charged stalemate. Each of the performers has moments of power and of dislikability. It is thanks to Wyer’s sure hand and this professional cast that we are not put-off by either’s stringent stand.
Jackson is incredible. He is full of power and presence. His character’s eloquence and carriage are brought forth with grace. Even when he becomes pedantic, it’s hard to dismiss him. Sorenson also gives a strong, endearing performance. Watching Sorenson realistically portray this tragic character arc is a reminder that he is not just a great comedian, but a gifted performer.
Suarez is fun as the reporter who stumbles onto a hornet’s
nest and shakes. She takes the sly dialogue and spins it in a cute way. As
the ghostly memory of Morris, Moore’s enlightening scenes are excellently
performed and staged, including a very nifty lighting choice by T.
Greg Squires that illuminates much of what is being missed in the bickering. In the role
of Sterling’s assistant Kanika, Rayme Cornell is very natural, while
Lizan Mitchell takes the role of longtime Foundation member Ella exactly
where it needs to go.
Robin Sanford Roberts’ set is an excellent mix of creativity and implication with some very nice transitional elements. Squires’ lighting also includes some nice washes and isolation moments. Sam Fleming’s costumes are able to capture character and moment well, while Brian Jerome Peterson’s sound design is crisp and filled with a lot of nice balances.
After a couple of sub-par productions this season, ATC appears to be returning to its strong stride. This is a wonderfully intellectual and emotional piece that deserves big crowds and heated discussions afterwards.
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