“Free speech means the right to shout ‘theatre’ in a crowded fire.” — Abbie Hoffman
By Eric George Tauber
SAN DIEGO — Abbie Hoffman was “a nice Jewish boy.” He should have gone to work for IBM. Instead, he became a left-wing activist, an enemy of war and capitalism. His activist theatrics included throwing fake money into the New York Stock Exchange and watching the traders scramble for it, running a pig for president and trying to levitate the Pentagon by exorcising its demons. (It’s amazing what sounds like a workable plan when you’re on cocaine.)
This story begins on July 4, 2017. A Paul Ryan/Ted Cruz ticket has taken the seat of power and Trish, a lone protester, demonstrates in front of the White House. When shot by security, her life flashes before our eyes. Summer Spiro gives us a seamless performance from her birth to her present in rapid-fire imagery, a brilliant way to cover the exposition.
Enter Abbie Hoffman, Patron Saint of Liberal Activists and gate-keeper of Heaven with a little nod to the “Wizard of Oz.” Here’s the deal: if Abbie thinks the world needs Trish to shake it up, she’ll make a miraculous recovery. If she can’t take his “boot camp,” she stays dead. The “Big Kahuna” (aka God in the form of George Burns with cigar and wry one-liners) tasks Trish with the mission of helping Abbie work through his own issues.
Abbie likes Trish’s chutzpah, but feels he needs help and asks God for more resources. Enter Bhagwan Shree Rajneesh –who expounds on the use and meaning of the f* word, Albert Einstein, Julia Child, John Lennon …and more, all played by a remarkably versatile and quick witted Mark Pinter.
Summer Spiro plays Trish with humor and intense conviction. As a Veteran for Peace, she has her own demons to exorcise as she’s been using activism more to assuage her guilt than rectify social ills. By the time she raps her “final exam” she has truly found her voice.
Abbie Hoffman’s chutzpadik theatrics were a perfect fit for Herbert Siguenza’s outrageous humor. I’ll bet even Herbert has difficulty finding the fine line where Hoffman and Siguenza begins.
The action is punctuated by the protest music of Hoffman’s era: The Who, Bob Marley, John Lennon … etc. Maybe that’s what’s missing in today’s radicalism, a soundtrack we can sing along to.
I’d be remiss if I didn’t mention the multimedia projections of Victoria Petrovich. The acid trip alone was worthy of a Craig Noel Award. And hats off to the crackerjack crew that helped Mark Pinter with this myriad costume and wig changes.
As we get older, our idealism and drive to change the world gives way to paying the bills. The radical leaders of yesteryear have either died or gotten long in the tooth. And today’s radicals are too disorganized to be truly effective. The Occupiers will be remembered more for their putrid stench than their discordant message.
But if there’s even an echo of a groovy radical singing on your shoulder, then you will really dig Steal Heaven playing at the Lyceum Space through Jan 25, 2015.
And don’t forget to check out the calendar of Surround Events including Sam’s Salon, Amigos del Rep’s Poetry Slam, a concert of Social Songs and comic sketches by Finest City Improv.
Peace Out!
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Tauber is a freelance writer who specializes in covering the arts. Your comment may be published in the box provided below or sent to this author at eric.tauber@sdjewishworld.com. Another SDJW review of Steal Heaven by Mimi Pollack was published earlier.
Nice review, Eric! I like your take on the play.