Tag Archives: Susan Lambert Hatem

“My Dinner With Andrea” Takes Feminism to the Limit

Review: My Dinner With Andrea from Charlotte’s Off-Broadway

By Perry Tannenbaum

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Thanks largely to Anne Lambert and Charlotte’s Off-Broadway, the Queen City’s fiercest proponent of homegrown professional theatre and her spunky little company, we have now seen two provocative new plays by her sister, Susan Lambert Hatem. Not surprisingly, since Lambert is also a founding member of Chickspeare – “all female, all Shakespeare, all the time” was their catchphrase – both of the Hatem plays we’ve seen have been spiritedly feminist.

Lambert directed Confidence (And the Speech) at Spirit Square in 2018 and now takes on the title role in My Dinner With Andrea. Charlotte’s Off- Broadway has moved off-Tryon to The Arts Factory, the stand-in of choice so far for resident theatre companies at Spirit Square while that facility is reconfigured. In Confidence, we had a former presidential aide who was willing to recount her role in crafting Jimmy Carter’s “Crisis of Confidence speech, but only on the condition that she and her questioner playact the narrative – with her playing the President and the questioner portraying the aide, a role and gender reversal.

Like Confidence, Hatem’s new play is a reaction to the 2016 election. You might presume that an initial reaction would be angry and visceral, leading subsequently to a more reasoned and pragmatic response. This playwright is flipping that order. She’s angrier, more irrational and visceral now than she was three years ago.

Then her heroine was an academic who helped Hatem juxtapose Jimmy Carter’s reasoned, cautious, calculated, and inclusive methods of policy- and decision-making with the infamous 45’s. Furthermore, she showed us how naturally a woman (could the playwright have had Hillary in mind?) would fit into that more intelligent, deliberate, and statesman-like mold.

The anger and impulsiveness of My Dinner With Andrea indicate that there’s more than a little 2020 in Hatem’s fuel tank, firing up her engine. It wouldn’t be too far-fetched to say that Andrea, portrayed by the playwright’s sister, is a female Donald. Or an amalgam of the two 2016 candidates? A devious entrepreneurial maniac who is more ambitious than 45, more pragmatic and intelligent, and less likely to run off the rails and flame out.

After tasting the bitter fruit of whistleblowing, Julia Grace Brandt is a research scientist who can use a job that utilizes her talents without compromising her integrity. She agrees to meet with an old, somewhat estranged friend, Andrea Ranger, who has become a renowned A-lister, on a first-name basis with Serena Williams, multitudes of glitterati, and key influencers. Divorced twice, if I counted correctly, with no kids – and no-thank-you on the subject of motherhood.

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Andrea’s next great entrepreneurial target, one that Julia is supremely equipped to spearhead, is the development of a wondrous vaccine, distributed globally, that will wipe cancer, heart disease, and Alzheimer’s from the face of the earth. Lurking behind those wonders will be a genetic side-effect of ridding mankind of men – or at least skewing the female-to-male birthrate ratio from 50-50 to a more comfortable 70-30, if not north of that.

“The future is female,” Andrea says, not kidding at all, though the phrase is familiar. As happens occasionally in dystopian sci-fi epics, she wishes to speed the process.

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Certainly, there are sufficient urgent crises facing humanity – and more than sufficient patriarchy screwups – to justify Andrea’s design and haste. Likewise, there are reasons why the highly principled Julia will sit there, hear Andrea out, and negotiate rather than simply walking away. For one, the fabulously wealthy Andrea will very likely make a fabulous salary offer to her old friend. More immediately – and temptingly – they are meeting at Miesha, the most chichi restaurant in all of Atlanta, and Andrea is having their waiter, William, bring out every single delicacy on the menu, from the appetizers to the desserts.

The meal of a lifetime for an unemployed lesbian.

So yes, the resemblance between My Dinner With Andrea and the 1981 movie, My Dinner With André (written by and starring André Gregory and Wallace Shawn), isn’t accidental. Hatem’s script is more purposeful, confrontational, and sexual, a pretty explosive combo in a space as small and intimate as The Arts Factory.

Utilizing the ubiquitous cellphone of 2021, Hatem can brief us on the upcoming action by simply having Julia confide in her partner by phone as she waits for Andrea to make a fashionably late entrance. Back in 1981, we needed Shawn’s voiceover, as he walked toward the restaurant, to clue us in.

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As the posh dinner and job offer unfold, Julia faces a couple of moral dilemmas informed by Hatem’s astute reading of 2020 and the Trump Era. Most obvious is the quandary that many who signed on to 45’s heinous administration ultimately faced. Should I risk soiling my reputation by joining this malignant organization, compartmentalize my work into the good that it might accomplish, and try to curb or sabotage its leader’s megalomaniacal schemes? Or should I distance myself from this creep as far as possible?

If Julia actually takes home Andrea’s prospectus and considers her devil’s bargain, she will probably be gauging her chances of subverting her vaccine development enterprise so that only good comes out of it. Or she may be simply fortifying her powers of self-delusion, finding excuses for allowing herself to be bought off, and placing herself in danger of being outfoxed by Andrea and other members of her brain trust, making her a duped accomplice in their diabolical scheme.

Adding some West Wing gravity to this tête-à-tête, Andrea has Julia ink a non-disclosure agreement before revealing how she plans to change the world. Enhancing the intrigue and giving us a little foreshadowing, William assists in preserving confidentiality by ceremoniously relieving Julia of her cellphone – and her smartwatch. We may think Andrea’s security concerns are frivolous and overblown, but then Julia suddenly comes face-to-face with her second moral dilemma, a climactic #MeToo moment that hatches more confrontation and dispute.

Echoes of that moment reverberated with me during the drive home, for I kept thinking how the incident would sit with Julia on her drive home and when she talked things over with her partner. Does what just happened potentially give her extra leverage down the road if she accepts Andrea’s job offer?

Tracie Frank plays Julia with such elegant cool that I could easily imagine her factoring this possible leverage into her ultimate calculus, for if the world isn’t in such dire straits that Andrea’s remedies are truly necessary, it could be if the psychopath makes headway. Maybe director Marla Brown could have called upon Frank to devour the culinary delights arrayed before her with more gusto to point up her susceptibility to temptation, but we see more than enough Epicurean enthusiasm to suspect there might be chinks in her armor. Frank’s is a nicely calibrated performance when you weigh it accurately, with the simmering rage of an unrepentant whistleblower often lurking beneath the surface.

Lambert has the juicier role as Andrea, seemingly with a green light to go all the way to a “Hillarump” Hillary+Trump if she pleases. Yes, we see her regally dangling all sorts of perks in front of her prey, flexing her wealth, but she also has a shrewd respect for Julia’s scruples, sees that bribery needs to be supplemented with down-to-earth charm and statistical persuasion to have her way. Brown doesn’t rein Lambert in to the extent that her confidence in emerging victorious – now at the restaurant and ultimately in the future – ever seems to wane, but she definitely credits Julia with being a formidable and admirable antagonist.

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Matt Howie rounds out the cast as William, nicely complementing his elders. His youth and suave servility give a nice edge to Andrea’s cougar tendencies while cloaking her true motives, and his smiling condescension subtly puts Julia in her place – maybe steeling her spine.

While My Dinner With Andrea compares favorably with My Dinner With André – and with her earlier Confidence – I do wish Hatem had been more thorough in her research, which would have made this Dinner richer in its logistics. Male birthrates actually outpace female birthrates in today’s world, particularly in Asian countries where cultural influences and social engineering are in play, skewing the numbers. You can compound the steepness of that climb with other hills, including the FDA, the CDC, and anti-vaxxers.

How would Andrea outmaneuver and circumvent all those obstacles? Concrete answers would certainly bring this archvillain’s fiendishness to a loftier level. Asking those questions would also sharpen Julia’s acumen.

Fully embracing those considerations, a Dinner 2.0 could be a provocative knockout. Meanwhile, without fully sweating the details, Hatem’s lively play certainly begins offers us a different path to discarding democracy for the sake of a better tomorrow. Sadly, it also makes more sense than the path pursued by 45’s insurrectionists.

Hatem’s “Confidence (and The Speech)” Loses Its Way but Delivers a Poignant Ending

Review:  Confidence (and The Speech)

Nathaniel Gillespie, Jonathan Hoskins and Greg Parroff in a scene from CONFIDENCE Sept 2018

By Perry Tannenbaum

Say what you want about Jimmy Carter, he wasn’t about lining his pockets with money or telling other nations what to do, and he certainly wasn’t about cozying up to the Russians. Among his more controversial – and principled – actions, President Carter slapped a grain embargo on Russia in response to their invasion of Afghanistan and pulled us out of the 1980 Summer Olympics in Moscow. In the midst of an energy crisis, Carter faced a TV camera inside the Oval Office and, wearing a drab cardigan sweater, urged a nationwide audience to turn down their thermostats to 68ºF. After the turmoil of Nixon, Cambodia, and Watergate, President Carter was barely in office two days when he granted blanket amnesty for Vietnam War draft evaders. Probably his most egregious faux pas was reminding wasteful and self-indulgent Americans that we were wasteful and self-indulgent, that two-thirds of us were so apathetic that we didn’t bother to vote, that there was a growing distrust of government and the press, and that our nation’s self-confidence was slowly eroding. Free spending and trickle-down Reaganomics proved to be far more palatable to our shrewd electorate.

Actor Jo Hall plays President Jimmy Carter in CONFIDENCE Sept 2018

Using the pivotal “Crisis of Confidence speech of 1979 as her ground zero, with occasional traces of animus from the shocking 2016 election result, playwright Susan Lambert Hatem reappraises Carter’s leadership and courage in Confidence (and The Speech). Hatem’s sister, producer Anne Lambert, is directing a workshop production of the new play at Spirit Square with the company she founded, Charlotte’s Off Broadway. Taking us to Camp David, where Carter took an extra 10 days to refine his address – convening a domestic summit where he gathered ideas from “business and labor, teachers and preachers, Governors, mayors, and private citizens” – Hatem also trains a critical eye on how much input and impact women had on the deliberations. Seven years after Helen Reddy’s “I Am Woman,” it wasn’t exactly a roar.

To look at the Camp David process pointedly from this outsider’s angle, Hatem erects an unusual framework. For her eyes and ears, the playwright recruits a somewhat disillusioned history professor, Cynthia Cooper, who served as a White House intern when Carter’s national address was being crafted. We’re not exactly sure when young Jonathan Rollins approaches Cooper after one of her lectures (not until the end of the evening, anyway), asking her for her reminiscences on Carter, but his persistence is rewarded. There is one catch: Cooper will take us behind the scenes at Camp David only if she portrays President Carter in the retelling. Rollins will need to switch genders as well and portray the young Cynthia.

Josephine Hall takes on the challenge of rekindling our affection for Carter, and she captures 39’s dignity, determination, and quiet uprightness rather well, but the hours she presumably spent watching YouTube videos of Carter have been wasted. She hasn’t listened well enough to produce Jimmy’s distinct Georgia sound, producing a generic drawl that London and New York would deem adequate for their most pallid Tennessee Williams revivals. Nor does Hatem take the opportunity to shine a bright light on the difference a woman in a pantsuit and heels might have made if she had been standing in Carter’s shoes. Unexpectedly, Hall does her best work during her technically impossible private scenes with Rosalynn Carter and in the equally impossible town hall segment when Jimmy listens to the voice of the people and responds. These responses are improvised at every performance, for three audience members will be chosen to give input to the President on key questions facing the nation.

Berry Newkirk, Greg Paroff, Paul Gibson, Maxwell Greger and Josephine Hall in a scene from CONFIDENCE Sept 2018.JPG

Subjected to unwanted advances when he becomes Young Cynthia – and relegated to typing up notes and brewing coffee – Jonathan Hoskins drew a more revelatory role as Rollins. The harassment and abrasive sexism come from pollster Pat Caddell as Cynthia gathers information and works with speechwriter Hendrick Hertzberg. Hoskins gave us enough prissy drag comedy mincing around in heels to effectively contrast and underscore those serious moments when Young Cynthia was being ignored, patronized and disrespected. Another fine episode lies in wait for Hoskins at the end when Rollins sheds his importunate and demure pretenses to reveal his true identity. These are the moments when Hatem is most successful.

Focusing on the polls, the process, and the pragmatism of aligning the speech with Carter’s re-election prospects, Hatem neglects the content of the speech and how it responded to the crises it addressed. It all seemed so promising and convincing in the playwright’s rendering of the first staff meeting at Camp David. In addition to those already named, press secretary Jody Powell, chief of staff Hamilton Jordan, communications director Gerald Rafshoon, and Vice President Walter Mondale all seemed professional, intelligent, and capable. All were agreed that the speech originally for July 4 had been a disastrous snooze and that Carter had been wise to postpone it at the last minute and regroup. The thrust of the message, the stakes, and the pitfalls were briskly and excitingly laid out.

After we grasped Carter’s motivations, process and practicalities stifled the flow of ideas vying for inclusion in the final draft. Rafshoon and Jordan remained thinner than cardboard and as Mondale became little more than an ominous negative voice, Powell became a glib appeaser to a press corps hungry for substance. The play veered along a similar path for us with its gender-bending protagonists, sidestepping the meat of the speech. Deepening the portraits of Rafshoon, Jordan, and Mondale would be one way for Hatem to go – leaving Maxwell Greger to ably provide comic relief as the unctuous Powell. But I suspect the better path might be for her to parade more fleetingly developed characters into the mix – those teachers and preachers and businessmen and politicians that Carter talked about in his speech.

Actor Josephine Hall as President Jimmy Carter and Actor Lane Morris as First Lady Rosalynn Carter in COB's CONFIDENCE Sept 2018Yes, I’d advise doubling and tripling the roles of the staffers. Then Josh Logsdon would have more to do than Mondale’s brooding fatalism, the criminally underused Berry Newkirk could more fully display the full spectrum of his talents, and Paul Gibson as Jordan could flub a more interesting variety of lines. That tack would also present ways of sneaking in more background info about 1979 America and let us outside of the White House West Wing bubble that Hatem creates. With those enrichment opportunities missed, Greg Paroff as Hertzberg, both avuncular and ambivalent, emerged as the most compelling performer in a supporting role while Nathaniel Gillespie was convincingly cringeworthy as Caddell.

Technically, the Charlotte’s Off-Broadway production also disclosed its workshop status. The upstage screens weren’t utilized nearly enough for projections, furniture occasionally boomed or rattled backstage, and on one unfortunate occasion, a folding table failed to become Young Cynthia’s bed for a bedroom scene. But the Lambert sisters’ efforts eventually made a favorable impression on me with a new resolution that Hatem wrote in response to the catastrophe of Election Night 2016. I really shouldn’t reveal what happens, but I will say that it brought tears to my eyes – for a poignant reason I’ve never experienced before: knowing that what I was seeing and hearing onstage couldn’t possibly be true.

 

A Georgia-Born Playwright Reappraises Carter – in the Age of Trump

Preview: Confidence (and The Speech)

CATS cast photo + Anne + Susan #1[4]

By Perry Tannenbaum

Oceans are rising. California keeps burning. Women are still facing stalkers, abusers, detractors, and depressed wages. Innocent blacks are beaten and shot in the back by rogue cops – or point blank by vigilantes. Wouldn’t it be great to be led by a President who cares? While Obama nostalgia and Hillary regrets are keenest, all other past commanders in chief and presidential hopefuls – except maybe Bush 43 – seem to be more palatable alternatives than the racist boor who now sits so empty-headedly at his empty Oval Office desk.

Even Jimmy Carter? Why yes, says playwright Susan Lambert Hatem, whose Confidence (and The Speech) premieres at Duke Energy Theater this week. Growing up in Decatur, GA, a three-hour drive from the famed Plains presidential peanut farm, Hatem has been fascinated by the Carter presidency and his exceptional post-presidency since childhood. Her impulse to reappraise Carter began before the 2016 election.

Among Carter’s signature achievements were establishing the Departments of Education and Energy and successfully bringing Israeli prime minister Menachem Begin and Egyptian president Anwar Sadat together to the peace table for the Camp David Accords. Hatem has made a pilgrimage to attend Carter’s Sunday preaching at his plain Plains church and has extensively researched the record.

“He appointed more women justices and more minority justices than all previous administrations – put together,” she points out. “Carter paved the way to something. There is no Obama presidency without Carter’s presidency. His administration never dropped a bomb. Never started a war. Eight American soldiers were killed on his watch.”

When Confidence began taking shape in 2015, Hatem had good reason to expect that she would also be able to claim that Carter’s presidency paved the way to Hillary Clinton. Equipped with sound theatrical sense, Hatem knew that showing Carter establishing government agencies or appointing women and minorities wasn’t a dramatic pathway to resuscitating his stature.

Instead, she decided to focus on his pivotal “Crisis of Confidence” speech of 1979 addressing America’s energy crisis. She learned that Carter had cancelled the energy address he had originally scheduled for July Fourth and sequestered himself at Camp David for 10 days before emerging with what Hatem calls “The Speech.” Those 10 days were an attempt to change the course of our history.

“I discovered that the initial reaction to that speech was intensely positive,” Hatem recalls. “It was the best public reaction to a speech the White House had ever seen – there were phone calls and letters praising the speech. Later, the speech was used against him and became known as the ‘malaise’ speech – though he never said malaise.”

Before moving into his policy decisions and recommendations, Carter described an ingathering and reaching out.

“I invited to Camp David people from almost every segment of our society,” he told the nationwide TV audience, “business and labor, teachers and preachers, governors, mayors, and private citizens. And then I left Camp David to listen to other Americans, men and women like you. It has been an extraordinary ten days, and I want to share with you what I’ve heard.”

Hatem not only examines the domestic summit that Carter held at Camp David, she flips the script with her narrative structure. Young Jonathan Rollins approaches 60-year-old college professor Cynthia Cooper, a former Carter aide, and asks her to recall the leadup to the “Crisis of Confidence” speech. Cooper consents – on condition that Young Jonathan plays Young Cynthia in the retelling. Professor Cooper will play President Carter.

Why? Because Hatem is not just interested in how history is made. She’s concerned with who gets to make it. Set in 2019, when President Hillary would presumably declare her candidacy for a second term, Confidence (and The Speech) would be a look back at how we began to evolve toward this landmark of feminist progress.

And then came the shock of Election Night, November 8…

“After the 2016 election – I didn’t know what to do,” Hatem admits. “I had to put the play down for a bit. I couldn’t work on it. I didn’t know how the play would make any sense any more. Then January 2017 was the Woman’s March, and I was re-inspired. I knew I had to finish it. So many women were stepping up. So many LGBTQ activists. So many black women and men. So many voices were rising. I wrote a new ending – a cathartic ending to me. An ending that I think will excite some, and confuse others. It is purposefully somewhat ambiguous… and not.”

The road from re-inspiration to this week’s Charlotte premiere ran through Hatem’s sister, Anne Lambert, who already had two significant production projects in the works during 2017. Last summer, she was on the producing team at Children’s Theatre of Charlotte that presented a staged reading of Bend in the Road, a musical adaption of the beloved Anne of Green Gables. Then in late fall, Lambert’s own company, Charlotte’s Off-Broadway, presented a fully professional local premiere of Richard Greenberg’s Three Days of Rain.

Lambert had co-founded the all-female Chickspeare theatre troupe at a local brewery 20 years ago, so her sister’s gender-bending concept was right up her alley. Confidence was one of six plays that were read at Camp North End this past winter as part of the Charlotte’s Off-Broadway “Page to Stage 2018” series. Of the six works read script-in-hand from February through March, Hatem’s will mark the third to receive a full production.

This time around, Lambert is wearing two hats, producing and directing. Hatem especially values her sister’s experience with dark Shakespearean plays – where the Chickspeare gender-bending wasn’t done for cheap laughs or sexual effect.

“What I’m trying to do is explore how the cross-gendering can reveal another layer to the play’s themes,” says Hatem. “That’s where Anne and her direction have been so great.”

The Lambert Sisters tapped Josephine Hall for the challenging roles of Professor Cooper and President Carter – in an unusual three-way FaceTime audition with the playwright in LA, the producer in Charlotte, and their star in Greensboro. We haven’t seen Josephine Hall in a local production since she prowled Stonewall Street in Cougar: The Musical, the last of her three Actor’s Theatre appearances during the 2014-15 season. Though she teaches acting and voice at Greensboro College, Hall hasn’t totally disappeared from view. Some of us saw her at Belk Theater when the first national tour of The Curious Incident of the Dog in the Night-Time came to town in February 2017.

Hatem knew some people who had worked with Hall on that tour, and Lambert had been impressed with her performance in Vanya and Sonya and Masha and Spike at Actor’s Theatre. You could say they were pre-sold before they hooked up via their iPhones.

After starring as the discontented daughter of a former Reagan ambassador in the 2014 Actor’s Theatre production of Other Desert Cities, you also might say that Hall was serendipitously unsold on President Ronald Reagan. The Hollywood actor successfully pinned the malaise label on Carter’s watershed speech and wrested the presidency from him in 1980.

“I believe The Speech is a missed opportunity,” Hall says after living with it through months of study and rehearsals. “Most people – not just Americans – don’t want to think too deeply or like to change their daily habits. Carter was asking for both. It’s really no wonder that most people chose the ‘all is well, just spend more’ approach offered by Reaganomics. It is very sad, however. I try to imagine a world where America had paid attention and led the world down a more sustainable path.”