FreedPenguin Rep Theatre at 59E59 Theaters as part of Americas Off BroadwayReviewed by
Erik Haagensen
June 16, 2010
Templeton was freed in his master's will as a child and apparently had an atypical experience of slavery at the hands of a relatively kind man. The resultantly self-confident lad has been handpicked by the Rev. Robert Wilson, president of Ohio University, to be educated there. Initially, Templeton believes the reason is to prove that blacks are just as good as whites, but he soon learns Wilson's ulterior motive: The reverend is part of a group of American leaders, including president-to-be Andrew Jackson, who want to ship all freed blacks back to Africa to establish a new country, Liberia. Templeton, who is intended to be Liberia's president, learns all this from Wilson's wife, Jane, an unhappy, cynical woman who disapproves mightily of the plan and her husband. The rest of the play examines the evolving relationships among this trio and revolves around whether or not Templeton will embrace his designated destiny. Jane is actually Smith's most interesting character, and Emma O'Donnell meets that challenge with a fierce performance, giving this uneducated but extremely intelligent woman welcome complexity. Jane's scenes with her new house guest are highlights of the evening—her tight-lipped raging to him at the fact that women are even more oppressed than freed slaves is particularly wrenching—and Sheldon Best as Templeton gives as good as he gets. Best subtly charts the young man's journey from naiveté to self-actualization, but he's at a bit of a disadvantage with a character who seems almost too good to be true. Christopher McCann effectively emphasizes the rock-solid religious certitude of the tightly wound Wilson, who's clueless about his oppressive patriarchy, but struggles to shade the role, which too often functions as a device. Indeed, Smith's problems involve the rather predictable architecture of alternating two-person scenes, mixed with too much distancing narration, and a tendency to introduce arguments that all too neatly and predictably turn around to the detriment of their proponents. It's also too clear from the start that Jane is the voice of reason, not her husband. Finally, the three-person format precludes any observance of how the community does or does not integrate Templeton. It's discussed, of course, but that's not enough. Such a central part of the story needs dramatization. Joseph J. Egan's simple platform set of wooden slats that curve up to form a looming backdrop allows lighting designer Martin E. Vreeland the opportunity for discreetly mood-enhancing work, both peeking through the slats and projected on them. Patricia E. Doherty's subdued period costumes resonate against Egan and Vreeland's simplicity. "Freed" was commissioned by Ohio University, where Smith is head of the playwriting program, for its 2004 bicentennial celebration, which may be why there's a slightly dutiful quality about it. Though the play is never less than engaging, I couldn't shake the feeling that this fascinating story requires a larger and messier canvas. Presented by Chase Mishkin as part of Americas Off Broadway at 59E59 Theaters, 59 E. 59th St., NYC. June 16–July 3. Tue. and Wed., 7 p.m.; Thu. and Fri., 8 p.m.; Sat., 2 and 8 p.m.; Sun., 3 p.m. (212) 279-4200 or www. ticketcentral.com. Casting by Cindi Rush. |
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