THE BEST MAN
BEST MAN, THE by Gore Vidal,directed by Tom Ross. Aurora Theatre Company,
l-r, Secretary Russell (Charles Shaw Robinson) andPresident Hockstaber (Charles Dean) reminisce in The Best Man.
THE BEST MAN WINS BY ACCLAIMATION!
With the presidential nominations in full swing, Tom Ross’s decision to produce “The Best Man” is a wise move. After almost 50 years, Gore Vidal’s politically charged play still reverberates with truisms. Vidal, an ultimate insider to the peccadilloes of
Vidal, with his sharp wit, is an equal opportunity skewer of both Democrats and Republicans, weaving their recognizable personality traits into the characters. You might derive more enjoyment of the total production if you are familiar with political names of the 1950s and 60s, but it is hardly necessary. You will recognize (alphabetically) Joseph McCarthy, Richard Nixon, Adlai Stevenson and Harry Truman.
Two leading candidates for a presidential nomination, William Russell (Charles Shaw Robinson) and Joe Cantell (Tim Kniffen) are as diverse as night and day and both are flawed. Russell, an Adlai Stevenson type intellectual, displays indecisiveness questioning his ability to lead. Cantrell, more in the mode of Richard Nixon, uses any available dirty trick to forward his political ambition. Both seek the endorsement of former President Art Hockstader (Charles Dean) that could sway the nomination to either man. Both have skeletons in their closets. Russell has had a nervous breakdown requiring psychiatric consultation and his sexual indiscretions have alienated his wife Alice (Emilie Talbot). During his years in the U.S. Navy, Cantwell was suspected of a possible homosexual escapade leading to a Court Martial. Art Hockstader, who has the key to the nomination, does not feel either deserve the nomination and declines to make an endorsement. The animosity between Russell and Cantwell boils over and their confrontations are riveting. Vidal creates a plausible ending leaving both camps in disarray.
Leading the exceptional cast is Charles Dean, who with his authoritarian delivery, expressive voice, mobile face and spare hand gestures dominates the stage. He is a marvel to observe. Playing the two antagonists, Kniffin and Robinson more than hold their own in their scenes with Dean. Robinson plays the role of Russell with understated authority, yet conveys an intellectual wit that is as exasperating to the audience as it is to Hockstader. Kniffen, as Cantrell, switches from his Machiavellian demeanor to childish comic/sexual play with his wife Mabel ( Deb Fink) and back again in smooth, polished fashion without compromising his protective exterior. That exterior cracks when a possible dark truth of his past is revealed. Late in the second act, the personal confrontation between these two political giants is a riveting calamitous moment.
Vidal understands the role of women in the political process and to this end, his female characters are not window dressing but have distinctive personalities. Deb Fink’s performance as a supercilious Southern Belle with a deep devotion to her husband and a wide mean streak is a joy to behold and she almost steals the scenes in which she appears. Emilie Talbot has the unenviable role of the “put-upon” wife who aspires to become the First Lady but must hide her distrust to play the dutiful wife. Her performance rings true. Elizabeth Benedict, as Sue Ellen Gamadge, the leader of the Women’s Political Action Group, deserves accolades as a force to be reckoned with when she barges into the male stronghold.
The remainder of the cast performs admirably with one caveat. The only weak spot in the play were the reporters and the director might have better served if the questions were delivered off stage.
Running time is in question since the start was delayed 25 minutes because a brush fire under the
Courtesy of TheatreWorld Internet Magazine