Shocking: Jodie Foster’s Traumatic Theatre Experience

The Constance Experience

A Musical Saga: Understanding the Complexity of the Play

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Eight years and several iterations after its 2010 debut, the Restoration’s Constance is finally and fully on its feet at Trustus, and it is a monolith. A fictional musical saga set in Reconstruction-era Lexington, the play defies summation except to say they’re all there, all those primal southern tropes, like bigotry, miscegenation, old money, zealotry, revenge, hypocrisy, and violence. It’s unwieldy and exhausting and overwhelming and an excellent example of what theatre is for. It’s elemental, is what it is. It begins with fire—the actual fire set by Sherman’s troops in 1865 at St. Stephen’s Church—and ends in flood, the drowning of an entire town by an embittered native son.

It is earth, in its emphasis on home and land and the genius of place. And it is air, or rather ayre, an aural palette of (how to describe it?) Americana/heartland/folk balladry. That Constance is a protracted labor of love between two old friends–Trustus Artistic Director Chad Henderson and The Restoration founder Daniel Machado–becomes obvious in its attention to detail and commitment of resources. Henderson wrote the book, quilting together Machado’s songs with dialogue so assured you can’t hear the writing. In directing it, he deployed many of the theatrical gadgets in his Swiss Army knife. And he hired Tom Beard, always a pro, as musical director, and Jessica Bornick, whose costumes are terrific.

The result is a multi-media, multi-modal theatrical tsunami, more akin to Bernstein’s Mass than to the last musical you saw. The flood scene, for instance, is magnificently effectuated by the “floating” of church pews by members of the ensemble. The fire is a combination of lighting mayhem, percussive stomping, urgent strings and choreography. Virtually every scene introduces a fresh visual element–Brechtian projections, newsreel footage, scrim silhouettes, a cascade of flying paper, and (this was brilliant) an unruly mob armed with creepy flashlights marauding the auditorium. Meanwhile, hanging ominously on the back wall: heavy ropes, impossible to ignore in a play about race. And there are unmistakable references to Our Town, appropriate in such a panoramic homage to our town, such as the adult Constance’s observation of herself at different ages, or the funeral scene, or in Paul Kaufman’s (riveting) Reverend Harper, at first a unifying and benevolent consciousness presiding over these affairs like Wilder’s Stage Manager, later reduced by time and tribulation to a ragged, wild-haired, raging alcoholic howling about the “Werewolf of Ballentine” and looking as horrifically grizzled as Steve Bannon on a good day.

Visual Storytelling: A Feast for the Eyes

The cast itself is colossal, consisting of twenty-five actors led by Trustus veterans Kaufman and, in the role of the adult Constance Owen, Vicky Saye Henderson, whom I cannot review fairly because her singing beguiles me. I think, however, she might be magnificent because what I wanted most was more of her. And here begin my apprehensions. The play is actually two, each its own act. In the first, we meet teenage Constance (played by Brittany Hammock) and her love interest, the mixed-race Aaron Vale (Mario McClean). So convincing is their chemistry, so harmonious their voices, so solid their performances, that the play is never better than when they are on stage. Indeed, their scenes together provide the evening’s best moments and melodies (like “I Can’t Stop Wanting You”). If such actors are the inheritors of Trustus’ reputation, then the theatre is in excellent hands. But the first act is so long as to test the limits of the even the most heroic middle-aged prostate. This being a work-still-in-progress, further pruning is likely to be done. A good place to start, so say I, would be the subplot involving a local troupe’s production of Othello, which seems to ape Waiting for Guffman and features the embarrassing caricature of a flaming primo uomo. Or perhaps the glimpses we are given into the troubled marriage of Col. and Mrs. Palmer, he a pompous, she a fretful, they a pair of warring titans of respectability, each convinced that the other is the source of their unhappiness.

The Creative Visionaries

Chad Henderson and Daniel Machado: A Labor of Love

That Constance is a protracted labor of love between two old friends–Trustus Artistic Director Chad Henderson and The Restoration founder Daniel Machado–becomes obvious in its attention to detail and commitment of resources. Henderson wrote the book, quilting together Machado’s songs with dialogue so assured you can’t hear the writing. In directing it, he deployed many of the theatrical gadgets in his Swiss Army knife. And he hired Tom Beard, always a pro, as musical director, and Jessica Bornick, whose costumes are terrific.

Attention to Detail: The Craftsmanship Behind the Production

It is earth, in its emphasis on home and land and the genius of place. And it is air, or rather ayre, an aural palette of (how to describe it?) Americana/heartland/folk balladry. That Constance is a protracted labor of love between two old friends–Trustus Artistic Director Chad Henderson and The Restoration founder Daniel Machado–becomes obvious in its attention to detail and commitment of resources. Henderson wrote the book, quilting together Machado’s songs with dialogue so assured you can’t hear the writing. In directing it, he deployed many of the theatrical gadgets in his Swiss Army knife. And he hired Tom Beard, always a pro, as musical director, and Jessica Bornick, whose costumes are terrific.

The Power of Collaboration: Bringing the Vision to Life

The result is a multi-media, multi-modal theatrical tsunami, more akin to Bernstein’s Mass than to the last musical you saw. The flood scene, for instance, is magnificently effectuated by the “floating” of church pews by members of the ensemble. The fire is a combination of lighting mayhem, percussive stomping, urgent strings and choreography. Virtually every scene introduces a fresh visual element–Brechtian projections, newsreel footage, scrim silhouettes, a cascade of flying paper, and (this was brilliant) an unruly mob armed with creepy flashlights marauding the auditorium. Meanwhile, hanging ominously on the back wall: heavy ropes, impossible to ignore in a play about race. And there are unmistakable references to Our Town, appropriate in such a panoramic homage to our town, such as the adult Constance’s observation of herself at different ages, or the funeral scene, or in Paul Kaufman’s (riveting) Reverend Harper, at first a unifying and benevolent consciousness presiding over these affairs like Wilder’s Stage Manager, later reduced by time and tribulation to a ragged, wild-haired, raging alcoholic howling about the “Werewolf of Ballentine” and looking as horrifically grizzled as Steve Bannon on a good day.

Vicky Saye Henderson: A Riveting Performance

In the monumental theatrical production of Constance, Vicky Saye Henderson captivates audiences with her role as the adult Constance Owen. Henderson’s portrayal is a testament to her versatility and depth as an actress. Her ability to convey the complexity of Constance’s journey, from youthful idealism to the wisdom of a seasoned survivor, is nothing short of mesmerizing. Her singing performance is equally compelling, harmonizing seamlessly with the play’s rich musical score. Henderson’s nuanced performance adds layers to Constance’s character, making her a central figure in this sprawling saga.

The Chemistry of Brittany Hammock and Mario McClean

Brittany Hammock and Mario McClean bring a vibrant and palpable chemistry to the stage as teenage Constance and Aaron Vale, respectively. Their scenes together are high points of the production, thanks to the strong emotional and vocal interplay they share. The duo’s rendition of “I Can’t Stop Wanting You” is a standout moment, showcasing not only their individual talents but the unity of their performances. The audience is left with a deep sense of connection and longing, a testament to the actors’ ability to create a compelling narrative through their interactions.

Paul Kaufman: A Unifying Presence

Paul Kaufman’s portrayal of Reverend Harper is a complex character arc that serves as a moral compass in the play’s tumultuous narrative. Initially, Kaufman embodies a figure of stability and leadership, reminiscent of the Stage Manager in Thornton Wilder’s “Our Town.” However, as the narrative progresses, Harper’s descent into alcoholism and fanaticism becomes palpable, leading to haunting moments of despair and rage. Kaufman’s performance is a masterclass in character transformation, allowing the audience to witness the full spectrum of human frailty and resilience.

The Challenges of Ambition

The Subplot Conundrum: Where to Draw the Line

One of the significant challenges in Constance is the handling of its various subplots. For instance, the subplot involving a local troupe’s production of “Othello” feels like a gratuitous addition that detracts from the main narrative. The caricatured portrayal of the troupe’s members and their performance of “Othello” seems more like a cheap parody than an integral part of the story. This subplot could be pruned to focus more on the central themes of race, identity, and family.

The Lengthy First Act: A Test of Endurance

At over two hours, the first act of Constance is a considerable test for the audience. While the ambitious scope of the play is commendable, the lengthy script can lead to a loss of focus and fatigue. The first act covers a vast expanse of time and events, but this can dilute the intensity of the narrative. Trimming this act could enhance the overall pacing and impact of the story, maintaining the audience’s engagement throughout.

The Balancing Act: Trimming the Fat Without Losing the Essence

Despite its ambitious goals, Constance requires a fine balance between narrative depth and audience engagement. The challenge lies in maintaining the richness of the story without overwhelming the viewer. This involves a meticulous editing process where unnecessary elements are removed to streamline the plot, without sacrificing the emotional and thematic core of the play. Trustus Artistic Director Chad Henderson and The Restoration founder Daniel Machado must continue to refine the script, ensuring each scene and sub-plot contributes to the overall narrative arc.

Lessons Learned and Moving Forward

Pruning the Script: The Art of Editing

Refining the script of Constance is essential to achieving a cohesive and impactful production. The process of editing involves removing superfluous subplots and trimming lengthy monologues to ensure the narrative remains focused. By eliminating scenes that do not contribute to character development or the overall thematic message, the play can maintain a tighter, more compelling structure. This pruning process is critical for a production of such magnitude, as it ensures the audience remains engaged and emotionally invested in the story.

The Importance of Pacing: Keeping the Audience Engaged

Pacing is crucial to the success of any theatrical production, especially one as sprawling as Constance. By carefully adjusting the pacing, the production can maintain a steady flow of high and low points, keeping the audience on the edge of their seats. This entails strategically placing moments of reflection and action, ensuring that each part of the play builds upon the next. Proper pacing can also mitigate the overwhelming length of the first act, ensuring that the audience can absorb and appreciate the narrative’s complexities without feeling overwhelmed.

The Future of Theatre: What Constance Can Teach Us

Constance offers a valuable lesson in the future of theater: the need for ambitious storytelling that resonates on a human level. While the play’s scope and ambition are praiseworthy, its future iterations must strive for a balance between narrative depth and audience engagement. The key takeaway is the importance of refining and editing to create a more cohesive and impactful narrative. This approach can inform future productions, encouraging a focus on character development, thematic clarity, and emotional resonance.