L to R: David Sapiro and Jason Will Photo: Melinda Rhodebeck
I never expected to set foot in Freud’s study, let alone back in 1939 on the cusp of World War II … but this weekend, I found myself in that exact position while seeing Acacia Theatre’s production of Freud’s Last Session. The play, which brings to life a hypothetical conversation between Sigmund Freud (David Sapiro) and C.S. Lewis (Jason Will), was directed for the second time by Elaine Wyler, and its staging in the Norvell Commons kept it intimate and captivating.
Set and properties designer Abbey Pitchford transformed the stage into what could pass as an exact replica of the room at 20 Maresfield Gardens—no detail was spared. Across the floor and walls were hung carpets, giving the study a greater depth, and the many bookshelves were filled to the brim with books and collectors’ treasures that could only belong to a man who has taken the time to study histories and cultures outside of his own. The light design, done by Dan Hummel, was kept simple and warm, using onstage standing lamps as effective practical lighting.
The script itself is incredibly witty, even from the first remark made by Freud to his dog, Jofi. Lewis and Freud were two of the most prolific academics of their time, and their repartee needed to reflect that. Their conversation dips and peaks and makes U-turns as the two men debate, and while such a dense script must be difficult to keep fresh and lively, the two actors did a tremendous job portraying their characters replying off-the-cuff. Each jab of humor was found in the moment, and every question that couldn’t receive a quick answer was sufficiently turned over in its respondent’s head. Freud’s cleverness was dry and sardonic, but Lewis’s brighter quips did not read as naive in comparison—rather, the two complemented each other.
While I would’ve been content to watch Sapiro and Will hash out the question of if there is a God simply seated at Freud’s desk for the full performance, their movement around the space informed their characters’ motivations and overall demeanor. Will moved about the room freely—gracefully, even—as Lewis had a lighter quality about him, but he especially could not sit still when he was nervous or excited about an anecdote he had to share. Meanwhile, Sapiro, playing a Freud who had 42 years on his scene partner, was much stiffer, though dignified. He remained at his desk chair for the majority of the play, primarily standing up when irritated.
Deliberate Choices
Each actor also had a set of ticks; it was fascinating to watch such deliberate choices being made to distinguish the two scholars. Sapiro especially was quite deliberate with when he reminded the audience of the rotting pain that was ever-present in Freud’s upper jaw—when he reached for a cigar box, I physically cringed. By the climax of the show, I presume each audience member, like me, could almost feel the discomfort in their own mouths. The practical blood effects used then were just enough to elicit a reaction from those of us watching, without becoming gratuitous.
The denouement allowed both the characters and the audience to sit in the conclusion of an inconclusive discussion—because as Lewis points out, it was “madness” to presume to answer the world’s greatest question in one afternoon. Freud’s response stuck with me: “There is only one greater madness: not to think of it at all.” Though the overarching tone of the debate was full of mutual respect, heated moments had arisen, to be sure. And yet, neither party diverted from their shared belief that open, honest dialogue can only promote knowledge, and to shut oneself out from a dissenting opinion is to refuse to learn and potentially grow.
Wyler’s note at the front of the program opened with the sentiment that “we live in divisive times …” and while this play took place over the backdrop of air raids and the start of a world war, it remains true that any and all times could be categorized as divisive. And though a work of fiction, bearing witness to an intellectually stimulating conversation between two men who recognize themselves as equals despite their differences in fundamental beliefs—and who are willing to admit the swath of similarities they share—was refreshing. Dare I say, it even gave me a little hope.
Two great minds match wits in Acacia’s Freud’s Last Session
A review from WisconsinTheaterSpotlight.com by Marilyn Jozwik:
L to R: David Sapiro and Jason Will Photo: Melinda Rhodebeck
Acacia Theatre Company’s “Freud’s Last Session” by Mark St. Germain is a spellbinding peek into the psyches of two brilliant minds, Sigmund Freud and C.S. Lewis.
In this fictional scenario – the two never really met – Acacia sets out to present how two individuals with polar opposite views on the existence of God, life’s meaning and other topics can discuss their ideas with civility and respect.
Freud, the famous psychoanalyst whose mother was Catholic and father was an Orthodox Jew, was an atheist. Lewis, a literary scholar whose father was a pastor, was an atheist who later converted to Christianity, embracing its beliefs to became one of the greatest Christian thinkers of his time.
These are two riveting performances by David Sapiro as Freud and Jason Will as Lewis. Elaine Wyler directs. The intimate space at St. Christopher’s Church has the audience nearly seated in the London study of Freud, filled with books, ancient artifacts and a desk full of papers and cigar paraphernalia with rich burgundy background. Of course, there is a psychoanalytic couch, which each character at some point utilizes. Add subdued lighting, and I was so mesmerized and comfortable with the experience I almost felt I could contribute to their conversation.
The show runs a little over an hour and is dense with thought-provoking dialogue, delivered with conviction and realism, as the two characters match wits. The year is 1939 and London is under attack from Nazi Germany, which Freud fled. “When I looked out my window, I only saw Nazis burning my books,” he says of his home in Germany. Freud tunes in his radio periodically for updates. At one point a siren sounds and each scholar reaches for a gas mask, prompting a discussion of death.
Freud, who died that year, had endured 33 surgeries for oral cancer, the result of smoking and cocaine use. In the show, Sapiro is most convincing as the elderly Freud. Slightly stooped and speaking with authority, yet frail, Sapiro’s Freud gets especially animated at various points, such as when he rails about the tragic deaths of his daughter at age 27 and grandson at age 5 in the context of religion.
As Lewis, Will assumes a credible British accent as he partakes in the verbal competition with Freud. Like two prize fighters, they land punches, dodge others, but always stand strong in the ring. Interspersed in the conversation are bits of their backgrounds, such as how they felt about their fathers and their current families. Writer St. Germain expertly weaves in these details with the volleys of thoughts on religion, morality, enemies and other topics organically interspersed so the script never sounds like a lecture. “We cannot survive without enemies. They are as necessary as air,” says Freud.
The show requires total engagement as there are so many nuggets, such as when Lewis says, “My idea of God is constantly changing. He is everywhere incognito.” He chides Freud for being a non-believer who spent so much time trying to disprove the existence of God. Freud maintains that the existence of God can’t be proved historically, while Lewis counters, “His death transferred myth into truth.”
St. Germain’s work, which was suggested by “The Question of God” by Dr. Armand M. Nicholi Jr., is the sort of discourse that is so needed in a world where different viewpoints can’t seem to come together without losing all semblance of civility. It is also theater that prompts audience members to want to learn more about these two important figures and their ideas.
Acacia’s “intensely satisfying” Freud’s Last Session
A review from TotalTheater.com by Anne Siegel:
L to R: David Sapiro and Jason Will Photo: Melinda Rhodebeck
Regional – River Hills, WI: Acacia Theater Company at St. Christopher’s Church’s Norvell Commons: 7845 North River Road.
Oct. 24-Nov. 9, 2025.
Drama.
Author: Mark St. Germain.
Director: Elaine Wyler.
Critic: Anne Siegel (Oct. 2025).
***
According to a theater preview article in Milwaukee’s Shepherd Express, “Sigmund Freud (1856-1939) and C.S. Lewis (1898-1963) remain two of the most familiar names from the intellectual life of the last century. Freud shined a flashlight into the unconscious and saw sex and repression. Lewis wrote the beloved Narnia stories. Freud believed that God was a projection of human insecurity, a make-believe father figure. (Lewis, a former atheist, converted his beliefs to align with Christianity.) They never met, but if they had, their encounter might have been similar to Mark St. Germain’s 2010 play Freud’s Last Session.
At the beginning of this intensely satisfying play by Acacia Theatre, it’s evident that we are in the early days of World War II. Freud’s London study, where the play is set, has been meticulously recreated from his former Vienna home. (In 1939, Freud hastily left Vienna to flee the Nazi invasion.)
In the opening scene, Freud (David Sapiro) listens to his radio for the latest news broadcasts. Soon he is joined by C. S. Lewis (Jason Will).
Acacia’s 2015 production of Freud’s Last Session was an immediate hit with audiences. The entire run was sold out, and extra performances were added. Judging from the large audience on opening night, one can guess that this show might also prove to be a difficult-to-get ticket.
The current show is a revival of one they did 10 years ago. Sapiro, who appeared as Freud in the original show, recreates his role. This is Will’s first appearance as C.S. Lewis. Both of these actors are very familiar to Acacia Theatre audiences.
Although the play is essentially a conversation between two men, it is frequently interrupted by outside events (a call from Freud’s daughter Anna, a false air raid attack, etc.). Actual radio addresses from Neville Chamberlain, former prime minister of the United Kingdom, and King George VI, periodically break into the broadcast to keep the play rooted in its historical period.
The point of restaging the show, according to director Elaine Wyler, is to demonstrate how people with vastly different views (in this case, religion) can disagree without disrespecting each other. In today’s politically polarized society, this view was shared by the Acacia administrators (which include Artistic Director Janet Peterson).
During the men’s conversation, they often return to points of common ground. These include personal tragedy, the effects of war (Lewis served in World War I) and their distaste for fascism. Freud asks Lewis (a lifelong atheist) exactly when he reached the conclusion that God exists.
Freud, at 83 when the play takes place, suffers from cancer. Although there’s no mention of it in the play itself, Freud dies two weeks after this hypothetical conversation takes place. Hence the play’s title: Freud’s Last Session.
The easy rapport between these two brilliant minds is fascinating to watch. It can also be extremely funny. Freud, whose conversation inevitably turns to sex, can’t help but mention Lewis’s somewhat unusual living conditions. The Lewis household includes the mother of one of his friends who died in the war. Lewis, in turn, comments on Freud’s extremely close relationship with his daughter, Anna.
Their conversation also mentions other known intellects of the past century, including author J.R.R. Tolkien (“Lord of the Rings”) and Charles Darwin, who espoused a new theory of evolution.
Although the play lasts only 75 minutes, it links the unique perspective of two great men within a distinct historical context. Both Shapiro and Will are at the top of their game. Supporting their efforts is the work of set and props designer Abbey Pitchford, lighting designer Dan Hummel and sound engineer Samuel Fitzwater-Butchart.
A review of A Sleep of Prisoners from TotalTheater.com
March 27, 2025
TotalTheater
Regional – River Hills, WI: Acacia Theatre Company at St. Christopher’s Church’s Norvell Commons.
March 7-March 23, 2025
Drama.
Author: Christopher Fry.
Director: Elaine Wyler.
Critic: Anne Siegel (March 2025).
***
It’s the time of year when a good solid meal is still welcomed, and in this chilly spring season Acacia Theatre Company presents one of its meatier plays, A Sleep of Prisoners by Christopher Fry.
More than a generation has passed since the late British poet/playwright Christopher Fry (The Lady’s Not for Burning, Ring Round the Moon) penned this play. Written in the wake of World War II, Fry takes us inside a makeshift prisoner-of-war camp in an abandoned church.
Although Fry was a notable playwright in his day, his plays are rarely performed (perhaps with the exception of his two best-known plays written above). Fry is also remembered as one of the screenwriters of the 1959 blockbuster, Ben-Hur. Happily, Acacia offers this rare opportunity to glimpse the brilliance of Fry’s literary brilliance.
Acacia, a Christian-themed theater company, doesn’t often choose plays that are as theologically based as this one. One can easily see how this company was drawn to A Sleep of Prisoners. (Even God makes a brief appearance as one of Fry’s characters.)
Prospective audiences should note that a deep historical knowledge of World War II is not required to understand this play. The events that unfold could apply to any US war in the past century.
Fry, who grew up as a preacher’s son, intended that this play should be performed in a church, as it was during its 1951 opening in England. Although Acacia’s current home IS inside a church, the play does not take place in the main sanctuary. Instead, audiences must head to the downstairs Norvell Commons. Within the commons is a lovely, intimate theater space, with excellent sound and lighting capabilities, not to mention great sightlines for every viewer. The theater’s moveable, cushioned seats, which line a series of rising platforms, offer one of the comfiest settings of any theater in town.
And the space’s black-box flexibility offers opportunities to create whatever sort of stage is required. Acacia’s set designs lean toward the minimal, making it the perfect occupant for the theater’s dimensions.
A Sleep of Prisoners begins with a group of three captured British prisoners who are tossed into the dark confines of a church. They are greeted by another prisoner (Tim Meadows) who has settled in somewhat earlier in the month. Some of what lies ahead can be guessed by looking at the character’s names: Private David King (Jason Will), Private Peter Able (Kerruan Sheppard) and Corporal Joseph Adams (AJ Magoon).
Following a sudden, violent encounter between two of the prisoners, the soldiers try to rest amid the frequent sounds of bullets whizzing and bombs exploding just outside. Before turning in, one of the soldiers plays hymns on the church organ. Another discovers a Bible printed in English, and reads from it behind a pulpit.
The soldier’s uneasy sleep is interrupted by vivid dreams, some of them drawn from biblical parables. The audience can easily pick up brief snippets of Old Testament stories such as Adam and Eve, Cain and Able, Abraham and Issac, etc.
The drama’s abrupt switch from dreams to real-life events makes things somewhat difficult for audiences to sort out. Sequences of Fry’s dialogue also drift into poetry, which is wonderful to hear but doesn’t always serve to unravel the play’s intertwining themes. The scenes prove to be equally challenging for the actors as well as the audience.
Overall, one gets the sense that Fry is dealing not only with real physical conflict faced by soldiers but also the characters’ emotional conflict. Basically, each character is confronted by the reality of good people who must do bad things to achieve their cause.
As the men wonder about their own futures during confinement, they also attempt to sort out their spiritual lives as well. The endless stretches of waiting, waiting, waiting are used by the playwright to mine the complexities of each character’s soul.
Longtime Acacia director Elaine Wyler has done a terrific job of capturing all of the play’s myriad themes within a production that lasts about 65 minutes (no intermission). Her goal is shaped and delivered by four outstanding actors. Many of these actors are familiar Acacia faces, particularly David Sapiro, Jason Will and AJ Magoon. Newcomer Kerruan Sheppard holds his own with these veteran performers, and the resulting ensemble is a tightly-knit, compelling force.
Only the longest-imprisoned character, Tim Meadows (Sapiro), manages to accept their horrific conditions with a measure of acceptance. He is a steadying rock that, one guesses, will eventually get all of them through this episode.
Some production elements that provide a backdrop to this story include: Ashley Petrowsky (set design), Katlyn Rogers Kelly (costume design), Dan Hummel (lighting design) and especially Samuel Fitzwater-Butchart (sound design). Props (by Matt Norby) look realistic. The work of fight director Nicole Magnusson is evident in scenes involving physical skirmishes.
L to R: Jason Will, Kerruan Sheppard, and A.J. Magoon Photo: Melinda Rhodebeck
A talented ensemble performs Christopher Fry’s drama, written in the aftermath of World War II but still valid today.
L to R: Jason Will, Kerruan Sheppard, and A.J. Magoon Photo: Melinda Rhodebeck
“Making Peace” is the theme of Acacia Theatre Company’s current season. And with its latest offering, A Sleep of Prisoners, we are asked to consider the effects of war on those who fight it. Not just in the physical sense, but in the spiritual sense. And therein lies the greater conflict: the inner “war” that rages within men’s minds while the eternal battles remain distant but ever present.
Prisoners is an anti-war drama by British playwright Christopher Fry, written 74 ears ago in the aftermath of World War II. Four English soldiers are prisoners of war locked in a church overnight as fighting rages on outside the bombed-out structure.
As tensions rise given their imprisonment and uncertainty, an act of violence occurs between two of them. And as a result, each of the four men have dreams that reflect biblical stories from the Old Testament: Cain and Abel, David and Absalom, Abraham and Isaac and Shadrac, Meshac and Abednego.
Fry’s writing is poetic, lyrical and written in verse. And while it is though-provoking—and certainly timely given the world’s state of affairs— it requires much work on the part of the four actors as well as the audience. The actors move back and forth between “real time” and “dream time” playing the various biblical characters which requires concentration, given the play’s abstract nature and layers of metaphorical meaning.
Talented Ensemble
Fortunately, a talented ensemble under the well-focused direction of Elaine Wyler makes Prisoners a fascinating glimpse into how war manifests itself into the human psyche. The cast uses a casual conversational tone, which makes the verse dialogue (set rhythms like poetry) easier to understand and follow.
But it’s the fine acting by this foursome that makes Prisoners so captivating to watch. A.J. Magoon, David Sapiro, Kerruan Sheppard and Jason Will work well as an ensemble as well as individually. Given the sheer complexity and length of Fry’s verse dialogue, it’s an achievement in itself how they display such range and emotion given what could be POW caricatures.
In particular, veteran actor Sapiro fleshes out his physically wounded character with plenty of sardonic humor, quips and the simplest of nonverbal gestures that underscore the wearying effects of war and imprisonment. As the higher-ranking corporal of the four, Magoon shades his by-the-book military man with a quiet gentleness and caring that humanizes their dehumanizing imprisonment.
A Sleep of Prisoners ultimately is about making peace with ourselves, putting an end to the war within that only we can end— for ourselves.
A Sleep of Prisoners runs through March 23 in Norvell Commons at St. Christopher’s Church, 7845 N. River Road, River Hills. Running time: 65 minutes, no intermission. For more information, call: 414-744-5995, or visit: acaciatheatre.com
by Harry Cherkinian – Reviewer for Shepherd Express
Acacia Theatre Company has taken the old Chinese proverb, “all good things come in twos,” and literally brought it onstage—again. For a second consecutive holiday season, the company presents Miss Bennet: Christmas at Pemberley, the imaginative sequel to Jane Austen’s beloved classic, Pride and Prejudice. And using most of the original cast of eight very fine actors, the production is just as smart and funny as the 2023 staging.
We now find those four Bennet sisters in December 1815 two years after the older two, Elizabeth (Shannon Nettesheim Klein) and Jane (Olivia Najera), have married well and found happiness. But then there’s the “Miss Bennet” of the title; bookish, outspoken Mary (Cara Johnston), who plays pianoforte and takes care of their aging parents. Cue the matchmaking sisters and brothers-in-law, William Darcy (Zackary Henke) and Charles Bingley (Josh Schiebe). And who shows up to celebrate Christmas? But the equally awkward and bookish Lord Arthur De Bourgh (Jason Will).
We can see where this is heading and it’s straight for the holiday hearts as witty wordplay and farcical antics unfold within the proper drawing room now containing a new, German tradition—a live evergreen Christmas tree! When the fourth Bennet sister, Lydia Wickham, (Bekah Rose), arrives, she creates her own “festivities” as she sets her sights on Lord De Bourgh, despite already being married herself. To add to the “merriment” of the season, De Bourgh’s controlling cousin Anne (Molly Kempfer) shows up unexpectedly—to announce her engagement to the beleaguered and even more confused Lord. And the “holiday spirit” really kicks in trying to sort out all the romantic entanglements —real and imagined.
Playwrights Lauren Gunderson and Margot Melcon perfectly capture the social manners and oh so proper dialogue of the Regency era found in Austen’s works of this period. Co-directors Erin Nicole Eggers and Janet Bouman Peterson continue to keep the staging simple and intimate, keeping the focus on the actors and the clever and often times hilarious back-and-forth banter. The dialogue is smart and snappy while proper to the times. And the plotline of this sequel meshes seamlessly with Austen’s story and arc of action.
The ensemble of eight is outstanding and excel in their individual roles, As in the 2023 production, actor Jason Will has added even more funny, nonverbal movements and gestures playing the socially-inept, awkward Lord De Bourgh. He is perfectly matched with the equally multi-talented Cara Johnston as the outspoken, quietly passionate Mary, seeking more of the world outside of her books and music. The cast is a tightly-knit ensemble and, once again, has their comedic timing down pat, including those upper class British accents.
Miss Bennet: Christmas at Pemberley continues to be is charming and delightful as ever and well worth revisiting for the holidays. Once again!
Miss Bennet: Christmas at Pemberley runs through December 15 in Norvell Commons at St. Christopher’s Church, 7845 N. River Road, River Hills. Run time: two hours including one intermission. For more information, call: 414-744-5995, or visit acaciatheatre.com.
Acacia Theatre’s “Acts of Peace” reviewed by Harry Cherkinian of The Shepherd Express
October 18, 2024
In the three-part Acts of Peace: A Journey through One-Acts currently playing at Acacia Theatre, we see the universal themes that dwell in all of us: the search for identity, life’s meaning and finding our place in the world. The characters range from a young boy to Jesus Christ. And this Journey is more about the travels along the way rather than the destination. Much like life itself.
The “star” of this production is Theophilus North, the namesake and title of the centerpiece of Acts of Peace’s first segment. The one-hour, one-act version is based on the autobiographical novel by Wisconsin’s own Thornton Wilder. The upbeat, well-written adaptation by Matthew Burnett is a likable and inspirational look into North’s journey out of his hometown and job and into Newport, Rhode Island where he encounters “high society” through a various assortment of odd jobs including French tutor, tennis instructor and would-be sleuth He does it all, even with no experience but plenty of can-do attitude.
“When in doubt, act twice as certain,” North says. And it’s works so well thanks in large part to the delightful performance by David Duncan III. Duncan makes North a positive influence where he goes and whoever he’s dealing with—even when they disagree with him. Supported by a solid cast who appear in multiple roles throughout the one-acts, Theophilus North gives us insight into Wilder’s youth and all that life that lies ahead of him—even when spying on a rich young women running off with her much older boyfriend. “At last! A real adventure!” North exclaims. And that it most definitely is.
In the 30-minute The Happy Journey to Trenton and Camden, written by Wilder himself, a family of four departs by car to visit their adult daughter and sister who’s recently out of the hospital. However, this “journey” is not so happy getting past the facade of proper manners and iconic “perfect family” image. In a beautifully balanced performance by Annette Lovrien Duncan, Ma is clearly the matriarch, and in a flash, she can go from pleasant to unnerving. Its what’s unsaid lying beneath the surface that makes viewing so complexing. And as the young son, Arthur, who unintentionally upsets “the boss,” Seth Hoffman is remarkable in his range of emotions given the limits of this supporting role. At journey’s end, it’s a telling final scene between elder ailing daughter, Beulah (nicely played by Annika Buck), and Ma. It’s easier to deal with that chicken in the oven rather than face real emotions, painful as they can be.
Kerruan Sheppard is a down to earth, accessible Jesus in King of Kings, Prince of Peace. He’s animated and bursting with life at spreading the Good Word in this 15-minute piece. And among his many words of wisdom, is the constant reminder that life is not only a physical journey. but also a journey of the” interior”-heart and soul, searching for peace.
Acts of Peace: A Journey through One Acts runs through October 27 in Norvell Commons at St. Christopher’s Church, 7845 N. River Road, River Hills. Run Time: 1 hour, 45 minutes (with a 10-minute intermission). For more information, call: 414-744-5995, or visit acaciatheatre.com.
Anne Siegel from TotalTheater.com reviews Acts of Peace: A Journey Through One-Acts
A series of one-acts opens the fall season at Acacia Theater Company. Acacia performs in the lower level of a church in leafy River Hills, WI. Despite what one may imagine a “church basement” looks like, this handsome space has been refitted nicely with an impressive stage, lighting, seating and sound to bring the audience in close proximity to the actors. It is a black box theater equal to many of the “professional” performing arts space around town.
In this production, Acacia explores the lesser-known works of Wisconsin’s most famous playwright, Thornton Wilder. Of course, Wilder’s best-known play is Our Town, which debuted in 1938 and is currently being reprised on Broadway.
Almost every child in America has been exposed to school productions of Our Town. Given its current place on Broadway, Our Town remains as relevant today as it did almost a century ago. Wilder was a three-time winner of the Pulitzer Prize (one of these was for Our Town.)
One finds certain similarities between the characters in Our Town (set in 1901) and the first two Acacia one-acts, Theophilus North and The Happy Journey to Trenton and Camden. The characters represented here are simple country folk, who are often engaged in domestic chores. Most characters are content to “root where they are planted,” but a few wonder about the world beyond their horizon. The characters are very tight with their neighbors, and secrets don’t stay secret long within these close communities.
Like the current Broadway production of Our Town, Acacia’s one-acts incorporate a diverse cast. A white mother may be paired with a Black father, for instance, or kids in one family may encapsulate a rainbow of colors. However, that’s about where the similarity ends.
In Acacia’s Theophilus North, a robust young school teacher (David Duncan III) breaks away from his small town to see the world. It’s 1926, and he makes it as far as Newport, RI. Upon arrival, he trades in his ornery car for a bicycle. The bicycle seems to suit him quite well as he makes his way around town. Duncan exhibits all the wonder and excitement of someone out on his own for the first time. Happily, the only person Theophilus knows in Newport immediately offers to post a newspaper ad for his tutoring services. The Newport friend also signs up Theophilus to teach summer tennis. Theophilus, who is somewhat nervous by this offer, immediately finds some “How to Play Tennis” books in the town library. He then begins training the kids who’ve signed up for lessons. One of the wiser kids asks, half-way through the program, whether they are “ever going to hit the ball over the net.” The hard-working Theophilus prevails. Eventually, he finds his meaning and purpose in these new environs.
Others in the cast include: Mark Thompson, Zackary Henke, Kerruan Sheppard, Mack Bates, Jaleesa Joy, Annika Buck, Annette Lovrien Duncan (David’s mother), and Seth Hoffman. Since most of the characters are titled “Man 1, Man 2, Woman 1,” etc., it is difficult to assign actors to various characters.
This one-act is followed by the briefer, The Happy Journey to Trenton and Camden, also written by Thornton Wilder. In essence, the play resembles an episode of the old TV series, “The Waltons.” A family of four leaves their farm to visit the oldest daughter, Beulah (played by Annika Buck), who lives in Camden. One guesses that the play’s time period may be pre-Great Depression.
Before the Kirby family departs on their trip, “Ma” (Annette Lovrien Duncan) tells all her neighbors about the purpose of their visit. Ma tells one woman, who offers to feed their cat, that she will leave the back door unlatched for her. A good deal of humor is incorporated into this family journey as well.
Jaleesa Joy and Seth Hoffman play the younger children, who bicker in the car until reminded by their parents (Mack Bates plays Pa) to mind their manners. Both Joy and Hoffman play their roles convincingly.
In a scene that will be very familiar to those born before the arrival of GPS, Pa asks a gas station attendant about directions to Camden, where their married daughter lives.
The final one-act is a monologue by Jesus (Kerruan Sheppard). He knits together a number of biblical phrases into a personal, convivial, one-on-one talk about God. Sheppard does a particularly fine job here, keeping the audience’s attention while only having a single chair as a prop.
Acacia’s evening of one-acts lasts about two hours, with a brief intermission between play one and two. At times, it’s difficult to link the connections between these three short plays. Also, the overall concept of “acts of peace” is given a relatively broad interpretation. In the first play, Theophilus North discovers that his life has new meaning in his adopted community of Newport. And in the third play, the character of Jesus makes mention of peacekeepers.
Although the three directors do a good job of pacing each act, they are hampered somewhat by the extremely minimal sets/props. Wilder himself was a fan of “minimalist staging,” but a few suggestive backgrounds and props would have improved the Acacia experience. Costumes also lean towards the “minimal,” with the addition of a hat or shawl expected to convey each character (costumes by Marie Wilke). In the final one-act, the character of Jesus wears the same clothing that the actor has worn throughout the production.
In comparison, the production’s sound (no name listed in the program) and lighting (by Dan Hummel) are relatively sophisticated.
In summary, one can imagine that Thorton Wilder fans will welcome this staging of his lesser-known works.
It should also be noted that Acacia Theatre Company offers tickets on a pay-what-you-can basis for every performance. Eliminating financial barriers to the theater experience allows more people to experience and enjoy live theater.
Cast: David Duncan III (Theophilus North), Mark Thompson (Man 1), Kerruan Sheppard (Jesus, and various roles in other one-acts), Jaleesa Joy (Woman 1, child in <I>Happy Journey </I>, Annika Buck (Woman 2, Beulah), Annette Lovrien Duncan (Woman 3, Ma).
Technical: Set: Ashley Petrowsky; Costumes: Marie Wilke; Lighting: Dan Hummel.
ACACIA’S ‘AGITATORS’ SHINES LIGHT ON ACTIVIST DUO’S FRIENDSHIP
June 26, 2024
Review by Marilyn Jozwik of Wisconsin Theater Spotlight
“The unlikely friendship of Susan B. Anthony and Frederick Douglass spanned some 45 years during some of the most tumultuous times in American history.
Those two extraordinary figures and times are the substance of “The Agitators,” by Mat Smart, currently at Acacia Theatre Company, who brought this beautifully staged production to their intimate space with outstanding performances. Lori Woodall-Schaufler directs.
In the opening scene we immediately see the contrasts and the connections of the characters. The year is 1849 and the place is the Anthony family’s farm in Rochester, New York, where Douglass and his family are staying as guests. The Anthonys were Quakers and believed in the equality of all men. Their home was often the meeting place for abolitionists, such as Douglass.
Susan (Susie Duecker) ventures out into the field to meet with a pensive Douglass (Dennis Lewis) and inquire how he liked the peach cobbler she made earlier. Her impatience and feistiness are evident while he slowly and carefully reflects on his responses. Susan is already becoming known for her activism,but realizes she has chosen a different path than most women. “I am 29 and should have six or seven children by now.” Douglass, meanwhile, has escaped slavery, yet admits, “There is no place in America that I’m safe.” At one point Susan asks, “How do we end slavery?”
Each scene wonderfully recreates an important meeting with the two as their fight to end slavery intensifies. We see Douglass’s fiery nature and learn about his life. “Slavery stole the first 20 years of my life,” he tells Susan. She confides that if a man would propose an equal marriage she may consider it. Their relationship grows close and tender as he continues his fight for his race, which came with the 14th and 15th Amendments, after the Civil War.
In their 1867 meeting in Haymarket Square we begin to see cracks in their common cause. While Frederick continues his fight to get the vote for black men, Susan’s attention turns to getting equal rights for women, particularly suffrage. They realize that their current goals have put them at odds with each other. Susan bemoans their separation, saying, “It felt like we were in lockstep.”
As Act 2 opens, the pair have been out of touch for a while and meet at a baseball game where Frederick’s son is playing. The two reconnect and begin to engage in the easygoing conversation they had for years, sharing the progress of their causes. Suddenly, Frederick gets up to leave when he realizes the police have been called because someone has seen a black man too close to a white woman. Susan objects, wondering what will she tell the police. “Your skin will keep you safe,” says Frederick.
In other scenes we witness the burning of Frederick’s home, which he believed was the work of the Ku Klux Klan, and the death of his wife Anna.
In a most charming scene, the two meet at the White House in 1888, where Susan will present her cause to President Cleveland. Frederick was certain that after black men were given the right to vote with the enactment of the 15th Amendment, women would soon follow. “I thought you were right behind us,” says Frederick.
There is both power and tenderness in Lewis’ and Duecker’s performances. Both display unbridled passion as their characters articulate how they’re going to devote their lives to bring equality to all in America. Yet, they never lose sight of the admiration, tenderness and devotion their characters had for each other.
Lewis assumes a stateman’s air as Douglass waxes eloquent: “Words can shine a light on injustice.” In Act 2, he leaves the stage with a fiery recitation of “My Country ‘Tis of Thee,” that brings goosebumps.
Duecker has memorable moments too and is most delightful when she doesn’t take her larger-than-life character too seriously, as when she takes time to ease her tired feet in a bucket of warm water, with Frederick assisting. Both Lewis and Duecker never let their characters lose their humanity.
Enhancing these marvelous performances is the use of visuals at the back of the stage, especially the opening montage of depictions of slavery and the final one showing figures of the equality movements. Scenes between help place the characters at the Anthony and Douglass homesteads and other locations. Characters were also outfitted well in period costumes. A crisp, full sound system provided violin and piano music, sometimes coinciding with Frederick’s own movements on the violin. Douglass played the violin for his family, and his grandson, Joseph, became a concert violinist.”
"When the poor and needy seek water and there is none, I the LORD will hear them; I will open rivers in high places; I will plant in the wilderness...the Acacia...that they may see and know, and consider and understand that the hand of the LORD has done this."
