Magic Time!

The random adventures of a theater buff in DC


You know those big live TV versions of blockbuster musicals that get broadcast decades after the show was a hit on the stage? Like, not until generations have come and gone? Well in the case of Dave, the new musical just opened at Arena Stage, I’m afraid that lag time just won’t do. Because Dave needs to be beamed into America’s living rooms right now.

Read David Siegel’s rave review of Dave.

I’m serious, this is a matter of national urgency. Did you see the alarming news that broke on the very day Dave opened? (I know, you’re wondering, Which alarming news?) Shrinks across the country are reporting increasing cases of Trump Anxiety Disorder. I’m not making this up. The telltale symptom of the syndrome is feeling as though the world is going to end.  And no wonder: the news cycle is a 24/7 trigger. People’s psyches are fried. The mental health of the citizenry is at stake. We need Dave to get us through.

Drew Gehling (Dave Kovic/President Bill Mitchell) and the cast in ‘Dave.’ Photo by Margot Schulman.

The musical Dave is based on the 1993 movie Dave, about an ordinary citizen named Dave Kovic who resembles President Bill Mitchell so much he’s recruited by the president’s handlers to be the president’s stand-in. Then President Mitchell has a stroke while fucking his mistress and the dastardly chief of staff and his West Wing-man press secretary decide to pass off Dave as the president without telling the First Lady, thinking she’ll never know because they hardly speak and assuming Dave the dufus will do their bidding. But Dave turns out to be a far better president than the one who’s in a coma. He lifts the country’s spirits, he promotes progressive legislation, he shows he really cares, and America loves him. He even wins the cold heart of the First Lady, who is icy toward Dave initially only because she thinks he’s the faithless dick she’s married to.

Dave the movie was in production during the presidency of George W. Bush and distributed during the presidency of Bill Clinton—in between lies about WMDs and lies about sexual screw-ups, in other words. Dave was a funny and moving contemporary fairy tale that in its time touched a nerve: a latent longing for our nation’s patriotic ideals to be real. For truth, justice, and the American way, for gosh sakes. And the movie did very well.

But no one could have predicted then the era of lies, inequity, and treason we live in now.

So the idea to bring back Dave as a musical was beyond brilliant. (Shout out to Warner Bros., which produced the motion picture from Gary Ross’s screenplay and got the ball rolling on its way to Arena.) And the creative team assembled is a galaxy of genius: Thomas Meehan and Nell Benjamin (book and lyrics), Tom Kitt (music), Tina Landau (direction), Sam Pinkleton (choreography), Rob Berman (music direction).

Drew Gehling (Dave Kovic/President Bill Mitchell) and the cast in ‘Dave.’ Photo by Margot Schulman.

Here’s why the musical they’ve made far surpasses the original movie: It’s live and it’s us. We the audience are in it together.

There comes a point in Act One when the storyline calls for the performers on stage to sing the national anthem. Nowhere in the script does it say: Come on, folks, join us. The plot would move ahead just fine if everyone in the house just kept seated, watched, and listened. But the night I saw the show, as soon as the strains of “The Star-Spangled Banner” began, the audience started to rise and sing along, one by one, until it was nearly everyone. I looked around incredulous and saw hands held over hearts. It was a spontaneous breakout of audience participation so full of pure, undefiled patriotism that it not only stopped the show; it lofted the musical into a whole new realm of communal meaning.

In addition to being set in the present—with cell phones and such—the musical Dave is different from the movie in several substantive ways that deepen its bond with audiences profoundly. For instance, in the movie First Lady Ellen Mitchell is an advocate for disenfranchised children, and Dave’s unexpected visit with her to a school and shared commitment to her cause is when their relationship thaws. In the musical Ellen is an advocate for eldercare, and Dave’s unexpected site visit with her to a nursing home and his active allyship on the issue serve a similar plot point—but the moment is immensely more resonant to the generation of theatergoers who themselves have been or are caregivers.

The nursing home scene in ‘Dave.’ Looking at each other center stage: Mamie Parris (Ellen Mitchell) and Drew Gehling (Dave Kovic). Photo by Margot Schulman.

Another example: In the movie, Dave runs a temporary employment agency; in the musical, he is a high school history teacher with a huge admiration for Lincoln. In the very first scene, we see him teaching his class the Gettysburg Address, an excerpt of which is displayed on an overhead projector. Dave has circled the word we wherever it appears. He wants to imbue his students with their agency and responsibility as Americans. That theme comes round again at the very end of the show, in a song the whole company sings called “It’s On Us.” And by George, we get it.

We want to believe in a country that many of us fear doesn’t exist anymore. What Dave does is restore our faith in that country by restoring our faith in ourselves. That’s a neat trick, but it’s something live theater is ideally suited for. And Dave moves us forward toward that faith so beautifully and resolutely that it becomes far more than the out-of-town tryout of a terrific show destined for Broadway hitdom. Dave is a spirit-lifter, a hope-renewer, and a brain-reboot—a show that we as a nation need now more than we know.

Running Time: Two hours and 30 minutes, including one intermission.

Dave plays through August 19, 2018, at Arena Stage at the Mead Center for American Theater – 1101 Sixth Street SW, in Washington, DC. For tickets, call 202-488-3300 or go online.


The Trans-Atlantic Time Traveling Company

The prodigiously imaginative performance artist Holly Bass belongs to the first generation of her family not to pick cotton for a living. I learned that startling fact as I passed through an art installation on the way to a workshop performance of her latest devised dance-theater work, The Trans-Atlantic Time Traveling Company. Suspended from the ceiling were panels of silk imprinted with photographs of cotton fields and an image of Bass in a 19th-century white dress. As a banjo played, I was led toward the stage set and further back in time. Commanding the playing area was a rustic covered wagon surrounded by wooden crates and tin cookware, all under spreading moss-hung branches. Even the accommodations were transporting: one could sit in any of several dozen old-fashioned wooden rockers and chairs.

Read Lisa Traiger’s interview with Holly Bass, “Holly Bass Celebrates Black Sisterhood in ‘The Trans-Atlantic Time Traveling Company’”

A special event workshop staging copresented by Theater Alliance and Anacostia Playhouse, The Trans-Atlantic Time Traveling Company features a cast of three—Bass (as Margaret) plus her collaborators Kailasa Aqueel (as Ruth) and Jasmine Hearn (as Jemma). As Sound Designer Evan Cook has birds chirp and as the sky shines blue behind Scenic Designer Tim Jones’s picturesque set, the three performers—all former slaves—enter barefoot in ruffled white house dresses and go about chores, cooking and hanging out laundry. “We’re safe, we’re freed now,” they say.

Kailasa Aqee,  Jasmine Hearn, and Holly Bass, in ‘The Trans-Atlantic Time Traveling Company.’ Photo by C. Stanley Photography.

The three freedwomen spin the covered wagon around to display the sign on its side: “The Trans-Atlantic Time Traveling Company.” They are en route with their distinctive road show, and they have stopped off right here in the present. What follows is an amiable conceptual variety show—a melange of songs, sketches, and dance—that gently entices the audience into an inquiry about what it means to be free if society is not just.

Costume Designer Jeannette Christensen gives each of the three freedwomen an exaggerated bustle under which are mounted two big inflated balls mounted upon the buttocks. “We offer the finest potions and the most marvelous entertainment,” they tell us, as they begin pitching us a magic elixir oil. One of the three, Ruth, enters as a man blind from birth. He is offered the allegedly curative elixir but it doesn’t work and he leaves disappointed. Suddenly he rushes back exulting that he can see. Already the audience is part of the show, so when the performers pass out edible infusions of the healing elixir (waxed-paper-wrapped candy), everyone takes one.

There is some dark energy afoot. A frightening darkness that overwhelms them, in Lighting Designer Max Doolittle’s bold execution. And the audience is asked directly to share their fears of the dark, whether from childhood or now. A few do. But the performers are reassuring: There is beauty and comfort in the dark, the audience is urged to see. “Darkness isn’t something to be afraid of.”

Some broad vaudeville comedy comes into play. There’s a laugh-out-loud sketch in which Margaret’s knee begins to enlarge alarmingly. It gets enormous. But the sisterhood of traveling transplants have a cure for that (wait for it…): Knee-Grow No More. It comes in quart-size bottles and “it will eliminate your Knee-Grow Problem.”

Throughout are lovely original tunes by Composer Sam Crawford blended with fun musical quotations, such as from the Talking Heads and “Billy don’t lose my number.” A story is told of Ruth’s fluency in the art of mouth percussion from Timbuktu; suddenly she’s delivering a rousing round of beatboxing.

Jasmine Hearn, Holly Bass, and Kailasa Aqee in ‘The Trans-Atlantic Time Traveling Company.’ Photo by C. Stanley Photography.

At one point the performers take off their period dresses and do a very modern dance in phosphorescent lycra tights and tops, their appended balls providing rebound when bouncing on their behinds. At another point they do a hoedown square-dance, inviting audience members to join in. At yet another point they sing the spiritual “In That Great Getting Up Morning.”

The easy commingling of then and now together with a freeform blend of genres enlivened by a delightfully personable cast make this short-run workshop iteration of The Trans-Atlantic Time Traveling Company a most enjoyable and uplifting experience.

And in the end, each audience member leaves with authentication in the form of a certificate that they personally are indeed free.

Running Time: 80 minutes, with no intermission.

The Trans-Atlantic Time Traveling Company played July 26 to 29, 2018, at Theater Alliance in collaboration with Anacostia Playhouse performing at the Anacostia Playhouse – 2020 Shannon Place, SE, in Washington DC.