Battle-Weary
Restaging of Marcus Hummon’s Warrior only muddled the play’s dramatic possibilities
With two performances last weekend, Actors Bridge Ensemble concluded its Polk Theater engagement of local songwriter/playwright Marcus Hummon’s retelling of the Jim Thorpe story, Warrior. First staged in 2001 at the Country Music Hall of Fame, the play has undergone some structural changes in the way the tale is framed, now featuring an “as-told-to” gimmick involving a Hollywood screenwriter in search of the great athlete’s life. The new material doesn’t hurt, yet the heart of the play seems pretty much the same, revisiting old demons such as Thorpe’s alcohol problem (which has been played down from the original staging, it should be noted). At times, Hummon’s melodies and arrangements are incredibly haunting; they also pulse with life, and even the moderato and lento tempos set one’s foot to tapping. That Hummon is a supreme musical talent can never be doubted; his work deftly blends elegance with the touch of the common man. But this signature event—the company’s first in a major TPAC venue—was foiled by various missteps.
Discussion of whether Hummon’s rewrites have adequately addressed the play’s structural problems must take second place to the recounting of all manner of staging issues. Inexplicably, many scenes were played far upstage, leaving the vital downstage areas too barren of action; director Bill Feehely seemed more intent on creating stage pictures than on bringing the drama to the audience. Equally disappointing, Stephen Innocenzi’s choreography appeared to have been thwarted by a lack of first-rate dancing talent, but nevertheless seemed imprecise and occasionally even pointless. Paul Gatrell’s scenic design had a certain stalwart power; less enthralling were the costumes, which had some color but were motley in conception.
In the lead role of Thorpe, Jimi Westbrook had some wonderful singing moments, and he fulfilled the role’s physical demands capably. Michelle Prentice, reprising the role of Thorpe’s wife, Iva, brought the expected sensual revelation to her vocals. Female ensemble members Kay Ayers-Sowell, Emma Foxall, Rebekah Durham and Misty Lewis added choral strength. Of the other males, Alain Browning delivered with his rich baritone, and Timothy Orr Fudge competently rendered his repeat portrayal of Avery Brundage. On the down side, Nathan Lacey’s performance suffered from overacting, the excellent Henry Haggard’s skills seemed wasted on the script’s heavy-handed rendering of producer Jack Warner, and Timo Cano as Thorpe’s father was simply out of his league (when he was intelligible at all).
As with every Hummon musical, fine instrumentalists were on hand, in this case the composer himself on guitar and synth; estimable pianist Catherine Styron Marx; Jonathan Yudkin on cello, violin and mandolin; Chris Roberts on percussion; and J.J. Kent on Indian pipes.
The spirit of this Warrior lives on, but the less-than-dynamic presentation here only served to muddle its dramatic possibilities.
—Martin Brady
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