As the novel coronavirus continues to spread COVID-19 across the globe, large scale gatherings across the world face postponement or outright cancellation. But this is hardly the first time, The Amateurs reminds us, that humankind has been thrown into a worldwide emergency.
Playwright Jordan Harrison draws a line between the Black Death of the 14th century to the AIDS Crisis of the 1980s all the way back to the Biblical flood that spared only Noah and his ark.
Combining the apocalyptic gallows humor of Mr. Burns, a Post-Electric Play by Anne Washburn with the metatextual sensibility of An Octoroon by Branden Jacobs-Jenkins, The Amateurs centers on a makeshift troupe of traveling actors at the height of the bubonic plague. The group specializes in performing Biblical morality plays, but usually ends up the target of audience projectiles instead of cheers. The troupe hopes their best repertory offering, Noah’s Flood, will earn them the Duke’s favor through their artistic merit and subsequently land them protection from the illness behind his walled village. But when Noah’s wife questions why she should have to board the legendary ark in the first place, the play-within-a-play antics collapse in on themselves and the playwright steps out to explain how we got to this point of self-actualization.
Though the characters in the troupe may be lowly amateurs, the cast and creative team of this production are anything but. The six cast members, all veterans of DC theatre, effectively carry out the tesseract-like intricacy of playing lesser, greener actors than themselves. Michael Russotto plays self-obsessed troupe leader Larking with the exact amount of ignorance necessary; convinced he is the greatest actor of the group, Larking refuses to give other members a chance to shine on stage. Playing Larking’s partner, Rachel Zampelli gives a fiery performance as the crass Rona, fed up and dissatisfied with her station in life and making self-destructive choices as a result. James Konicek brings gentle mystery to The Physic, a secretive newcomer to the troupe struggling with the guilt of survival. Emily Townley serves as the glue of the play, balancing the journeys of three different characters to show that the fringe groups of society taught to be content with scraps eventually break out of these restrictive roles.
To communicate the various locations on the troupe’s journey, scenic designer Misha Kachman strategically places hatches at different points across the stage, resembling the boils of the sick. As part of the multipurpose costumes the troupe must modify as they gain and lose members, costume designer Pei Lee constructs delightfully macabre masks in representation of the seven deadly sins. The rudimentary props the troupe crafts out of whatever spare material they can find add immensely to the dark charm of the show.
Olney Theatre has dedicated this run of The Amateurs to its own touring company the National Players, now in their 71st year of performing plays in repertory around the country. Theatre brings to mind the importance of gathering and community, a practice we could be missing out on for the next few weeks or months.
The Amateurs closes April 5, 2020. DCTS details and tickets
But COVID-19, the Black Death, and other global complications serve as a reminder we are defined by how we treat our most vulnerable. Just as the troupe members must adapt to highs and lows of their changing circumstances to survive, any temporary adjustments to our normal routine are worth protecting our neighbors most at risk. We’ll all be back together in the theatre soon enough.
The Amateurs by Jordan Harrison. Directed by Jason King Jones. Featuring Evan Casey, John Keabler, James Konicek, Michael Russotto, Emily Townley, and Rachel Zampelli. Sound Designer: Karin Graybash. Costume Designer: Pei Lee. Lighting Designer: Colin K. Bills. Scenic Designer: Misha Kachman. Stage Manager: Ben Walsh. Dramaturg: Sarah Kiker. Reviewed by Mercedes Hesselroth.
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