Tobie Windham, L. Peter Callender and Nicholas Pelczar in The Whipping Man
The Whipping Man: By Matthew Lopez. Directed by Jasson Minadakis. Marin Theatre Company, 397 Miller Ave., Mill Valley. (415) 388-5208. www.marintheatre.org.
Extended through April 28, 2013
THE WHIPPING MAN a gritty, brilliant Marin Theatre production
Having recently been reunited with the Bay Area Theatre scene after a long personal hiatus, it was an absolute pleasure to attend The Whipping Man at the Marin Theatre. Written by Matthew Lopez who is no stranger to the Bay Area with a recent production of his Somewhere at Theatreworks, it is a co-production with the Virginia Stage Company in association with the nomadic Lorraine Hansberrry Theatre. The acting is brilliant, the play’s construction almost perfect and the staging dynamic.
Almost perfect, since there is fact that Jews owned slaves and were accepted in Southern society but there is no documentation that the slaves were indoctrinated into the Jewish religion. Once you accept that as fact, then the impact of a seder taking place at the end of the Civil War becomes a powerful analogy of Moses freeing Jewish slaves in the time of the Pharaohs and Abraham Lincoln’s freeing the black slaves.
The time is April 13-15, 1865, a week after Lee’s surrender at Appomattox, and the place is a once grand mansion torn physical asunder by the ravages of the war. Into this chaotic atmosphere amidst thunder, lightning and rain stumbles Caleb (Nicolas Pelczar) the son of the Master of the household. The family has fled with only Simon (L. Peter Callender) the old, formerly loyal but now emancipated slave, living in the house waiting to be reunited with his wife and daughter. Caleb, an officer in the Rebel army has been wounded in the leg and gangrene has set in requiring a below the knee amputation.
Simon’s description of the ultimate outcome without the amputation is stomach turning but is not as horrendous as the on-stage amputation begins. The third character is rebellious John (Tobie Windham) labeled “nigger” John who is about the same age as Caleb and forages the abandoned homes stealing whatever he desires. This ‘foraging’ supplies clothes (costumes by Jacqueline Firkins), food, furniture and the most useful liquor needed to sterilize the wound and induce stupor in the soon to be amputee Caleb.
Lopez cunningly layers fact upon fact as the interaction between the three characters become interdependent only to be explosively rendered asunder at a perfect ending to the play. The title of the play becomes fully understood in two dramatic spellbinding scenes, first by Tobie Windham and in a penultimate scene by L. Peter Callender.
Amongst the tribulations and sordidness Lopez has woven poetry and beauty with Callender almost stealing the show with his initial display of loyalty to the Master, love of God and reverential belief in prayer. His description of meeting Abraham Lincoln that he dubs as the black man’s Moses is a thing of beauty that is a spectacular contrast to baring his back displaying the damage inflicted by the Whipping Man.
To reveal the total interdependency of the three characters would be a disservice to the audience. Be reassured that the standing ovation given on this non-opening night performance is well deserved. (Running time about 2 hours including an intermission.
Kedar K. Adour, MD
Courtesy of www.theatreworldinternetmagazine.com.
