Some of the best storytelling of the season
For almost a quarter of a century, Alonzo Fields had the ultimate insider's view of the halls of power. From 1931 - 53, he was stationed within earshot of the Leader of the Free World, privy to the intimate machinations of four U.S. presidents. As the Chief Butler of the White House from Hoover through Eisenhower, Fields has a remarkable first row seat to a swath of history ranging from the depths of the Great Depression through the heady boom times of post-World War II. Fields died in 1994, leaving behind a book "My 21 Years in the White House" that delved into his remarkable, fascinating career.
It's no small task, captivating an audience for a solid 90 minutes without the assist of an single supporting cast member. Douglas' spare production rests squarely on Buckley's shoulders: The set is all muted understatement, there are no flashy lights or costumes. This is pure storytelling, In an era where audiences are weaned on entertainment in the form of 180-character micro-stories and 6-second Vines, it is devilishly difficult to pull off. Buckley manages beautifully. He's got an inherent charisma that draws you to him, and a verbal dexterity that keeps you with him from the desperate Hoovervilles of the 1930s through the planetary upheaval of the Second World War and into the newly minted suburban sprawl of Eisenhower's "Great Society."
In lesser hands, Looking Over could be a didactic history lesson. That doesn't happen here - not even close. Buckley makes the history as immediate as a conversation with your best friend. There's no towering histrionics here, no tooth-gnashing drama or 11th hour revelations. This show doesn't need such fireworks. Fields' story covers the entire emotional spectrum but it does so with a subtle, masterful understatement. There's dignity here, compassion and rage. Fields was the grandson of a slave, and Jim Crow was the law of the land throughout Fields' tenure at the White House. Soprano Marian Anderson was allowed to perform at the White House, but she couldn't stay for dinner. Racism was as casually accepted as nightfall: Inevitable, eternal, unchanging and barely worth thinking about.
Yet through Hoover, Franklin Roosevelt, Truman and Eisenhower, Fields was determined to "change history" by whatever means he was afforded. He wasn't a firebrand, but In Buckley's nuanced performance, he is decidedly a force for good who used the tools at his disposal - dignity, grace, and an uncompromising moral compass - to history-making import.
Still's script is packed with fascinating details about life behind-the-scenes at the White House. We learn about badly behaving movie star visitors, presidential quirks, and how to deal with sticky-fingered dinner guests with big handbags and a yen for official White House silver. Brian Sidney Bembridge's set matches the mood of the show: Rows of expensive, understated porcelain surround the stage creating a set that's as gorgeous as it is tasteful.
Still frames the story with Fields sitting on a bench opposite the White House, drinking in the view one final time while waiting for the bus that will take him to retirement. You won't want him to go. Looking Over the President's Shoulder provides some of the best storytelling of the season..
Looking Over the President's Shoulder continues through March 6th at Greenhouse Theater, 2257 N. Lincoln (map), with performances Thursdays-Saturdays at 7:30pm, Sundays 2:30pm. Tickets are $29-$38, and are available by phone (773-404-7336) or online through Vendini.com (check for half-price tickets at Goldstar.com ). More information at AmericanBluesTheater.com. (Running time: 90 minutes, no intermission)
behind the scenes
Timothy Douglas (director), Brian Sidney Bembridge (lighting and set design), Christopher J. Neville (costume design), (sound design), Andrea Herrmann (properties design), Austin Cook (vocal consultant), Jaclyn Holsey (stage manager), Pat Fries (production manager), Charlie Marie McGrath (assistant director), Lucy Schuh (assistant stage manager), Warren Levon (production assistant), Michele Trudeau (technical director), Jason Shivers (master electrician), Eileen Rozycki (scenic painter) , Johnny Knight (photography)
Tags: 16-0222, Alonzo Fields, American Blues Theater, Andrea Herrmann, Austin Cook, Brian Sidney Bembridge, Catey Sullivan, Charlie Marie McGrath, Chicago Theater, Christopher J. Neville, Eileen Rozycki, Greenhouse Theater, Jaclyn Holsey, James Still, Jason Shivers, Johnny Knight, Lucy Schuh, Manny Buckley, Marian Anderson, Michele Trudeau, Pat Fries, post, Rick Sims, Timothy Douglas, Warren Levon
Category: 2016 Reviews, American Blues Theatre, Catey Sullivan, Greenhouse Theater Center, One-Man Show
