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Kesi Reviews Stuff Happens at The Public Theater

Stuff Happens by David Hare is like a boat in the middle of an open sea -- the plot rocks back and forth between the events following the September 11th attacks with an approach that keeps the audience churning in their seats for nearly three hours. Although the play does not tread unfamiliar waters, a clever mix between fact and fiction allows the audience to subconsciously weigh many possibilities concerning the White House administration after the terrorist attacks that impacted the lives of millions of Americans.

The Public Theater, which has showcased plays for five decades, cradles the humorous production. The basis for The Public's long existence isn't abstract. Welcoming Stuff Happens, the lobby is spotted with red chairs that compliment banners overhead. Upon arrival one is whisked away into a gently air-conditioned theater, rumbling with murmurs from an excited audience. The ushers' warmth while filling seats completes the setting and allows the play to begin gracefully.

The theater proves that it is not completely dangerous to use a simple set. A stage in the middle of the room is truly the center of focus; the audience is seated on either side of the stage, as opposed to around it. The most prominent props -- swivel chairs and tables designed by Riccardo Hernández -- provide the medium for rapid transitions. Each of the politicians wear sharp suits with help from Jess Goldstein; the clothing is practical for the play's theme. Lighting frequently changes intensity, color and focus, but it is not horribly irritable.

Stuff Happens is, overall, an extended dialogue between the administration following major events after September 11th that led to declaration of the War on Terror in 2003. As a result the audience is endeared to relationships between the administration members. Despite their stiffness and professional air, the politicians intermingle with genuine happiness, annoyance and distrust. In the first scene, the actors give a strong taste of the characters' personalities as the characters introduce one another.

When Jay O. Sanders first speaks, his voice is so comparable to George Bush's it becomes difficult to resist the urge to smile each time he talks. "I'm the commander," He begins with a light chuckle, "...I don't feel like I owe anyone an explanation." Bush's weak drive and dependence on his administration are brought to life through Sanders' performance. His State of the Union address echoes through the theater, but the sound effects are about as much power as he has. Despite his seemingly confident demeanor, Bush feeds off of the opinions of those around him, and the audience watches as he grows to believe -Ð or appears to believe -Ð what he preaches.

Although Bush is the president, he does not own the spotlight by any means. Rather, his supporters are the play's foundation. Condoleezza Rice, boldly performed by Gloria Reuben, is the president's backbone. During a meeting concerning the Middle East, Rice stands firmly behind Bush's chair and literally dictates his feelings to the rest of the room. She takes this position through the entire span of the play, frequently speaking on Bush's behalf and offering reasonable advice.

Peter Francis James as Colin Powell couldn't have been a better choice. Powell's experience with war influences the decisions he makes throughout the play. He is passionate and possibly hurt when he proclaims, "Politicians start wars. Soldiers fight and die." James' performance carefully follows Powell's stability as he reaches the tipping point. Powell's stress as Secretary of State causes him to yell and swear frequently as the play progresses; he is by no means as close to Bush as Rice is, and pays a heavy price for it.

In turn, the administration often acts as a familial unit, sharing meals after grace given by Bush. Religion is present in scenarios where it should have been kept separate. Also one feels overwhelmed by the theme of trust, especially after British Prime Minister confesses, "We can't go to war because of what we fear, only because of what we know." His proclamation sets the hectic frenzy of the play as doubts and complications arise.

Hare's greatest accomplishment with Stuff Happens is not just the portrayal of a chain of "terror"-inspired events, but the way in which he sneaks irony into the foundation of the play. Humor is the strongest element of the play but one cannot help but think what is truly funny: What if, for example, this was the attitude taken by our government in the face of war? Not everything said between the characters is fact, but the script is so true-to-life that one can easily imagine certain members of the administration speaking with a given tone or drive. It is hard to understand where Hare stands on the issue. He presents several biases but simultaneously offers the audience a chance to really ponder the significance of our government. Laughter is frequent when viewing Stuff Happens, but it is quite often sad laughter that resonates with the viewer long after the play has finished.