Compelling world premiere of THE PROSPECT OF EQUALITY, the Ruth Bader Ginsburg story, at Ensemble

 

In her book, “I Dissent--Ruth Bader Ginsburg Makes Her Mark,” author Debbie Levy states that one of the guiding principles of the former Supreme Court Justice was, “Disagreeing does not make a person disagreeable.  In fact, it can change the world!”  And, with that message, “R.B.G. made a big difference…one disagreement at a time.”
 
In watching Rachel Zake’s play, THE PROSPECT OF EQUALITY, a live-action revelation about Ginsburg, which is having its world premiere at Ensemble Theatre, the viewer soon realizes that the brilliant and gifted “Notorious R.B.G.,” as she was popularly called by her many admirers, was a wonder.  
 
As Celeste Cosentino, Ensemble’s Executive Artistic Director and director of THE PROSPECT OF EQUALITY states in the program notes, “What an amazing woman to write about and what unique approach Rachel has taken with this new work!  Although many of us look at Ruth as an “Icon,” I think Rachel really wanted to try and understand her as a human being, who, like all of us, experiences loss, what seems like insurmountable challenges, and uncertainty, but who also feels passion, compassion, and above all, love.  This is very much a love story about her love, and in turn about our love for her and what she has done for us.”

The play’s author shares that, “Writing THE PROSPECT OF EQUALITY gave me deeper insight into Ruth Bader Ginsburg not only as a judge, which we know quite a lot about, but also as a Jewish woman, mother and wife. It was particularly important for me to focus on and highlight her struggles and successes, and shed brighter light on the relationships that helped move her forward, along with her own determination and grit.

R.B.G., was a woman, wife, mother, lawyer, jurist, associate justice of the Supreme Court, consensus-builder, and advocate for all persons, no matter their gender, sexual preference or political views.  She accomplished all those tasks, with strength, humor and intelligence.
 
She was the first Jewish woman and the second woman to serve on the Court.  During her tenure on the courts, she authored not only well-reasoned majority opinions, but equally clarifying minority statements.
 
We watch in wonder as this determined woman navigates prejudice against her for being a woman, a Jew, and an advocate against male perceived rules.  She is a woman who fought the odds to get into Harvard Law School, study in the restricted Harvard Law Library, graduate first in her class at Columbia Law, yet after graduation, not get a single job offer, while male’s, far her inferiors, were offered stellar positions.

She was wise in her approaches to legal success.  “Rather than asking the [Supreme] Court to end all gender discrimination at once, Ginsburg charted a strategic course, taking aim at specific discriminatory statutes and building on each successive victory. She chose plaintiffs carefully, at times picking male plaintiffs to demonstrate that gender discrimination was harmful to both men and women.^”

During her life she had many fine muses—her mother, husband, father-in-law.  Each of these acted as a stimulant for reaching beyond the expected to achieve the seemingly impossible.  

Ensemble’s production, under the focused concepts developed by Celeste Cosentino, is engulfing, encompasses both drama and humor, and stresses not only the history of the amazing woman, but her sense of humor and love and respect for humanity.

Erin Moran shines as the Young Ruth.  She fleshes out a Ruth that has depth of character and purpose.  She portrays a real person, driven by high ideals, superior intelligence and a grasp of what it means to be a real “mensch”—Yiddish for “a good and honest person.”

Cleveland Critic Circle and Broadwayworld.com best actress award winner, Laura Perrotta, portrays RBG as a mature woman, as well as being a psychological guide for the younger Ruth, with clear character understanding.  

Both Nicholas Chokan, as Young Martin and Doug Sutherland, as the mature Martin Ginsberg, Ruth’s supportive life-partner, clearly create a man of compassion, strength and support.
Dan Zalevsky adds both humor and a view of Antonin Scalia, the Supreme Court Justice and long-time RBG friend and philosophical opposite, that adds an added dimension to the story.

The rest of the cast, Samantha Cocco, Keenan Carosielli and Claudia Lief Zalevsky, who each play multi-roles, are all excellent.

The electronic graphics strongly enhance the production.
Capsule judgment:  Though the script could use a little more dramatic tension, and possibly some additional humor, and the staging would be aided by eliminating the excessive movement of furniture to create different settings, the general quality of the writing and the acting excellence makes for an evening of highly satisfying theatre and added appreciation and admiration for Ruth Bader Ginsburg, a woman who optimizes the phrase, “A life well lived!”  See this!

THE PROSPECT OF EQUALITY continues at Ensemble Theatre, which is doing its final show on the campus of Notre Dame College, through June 9.  For tickets call 216-321-2930 or go to www.ensembletheatrecle.org

MOTHER COURAGE AND HER CHILDREN

 

Bertolt Brecht was one of the most influential writers and theatrical theorist in the history of Western theatre.  His major concept, which he identified as Epic Theatre, was based on the theory, as he stated, “that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage.”     This Epic Theatre concept is the basis for understanding, appreciating and gaining from his play MOTHER COURAGE AND HER CHILDREN, now on stage at Ensemble Theatre.     This concept is further understood by realizing that Brecht also believed that, “Art is not a mirror to hold up to reality, rather a hammer to shape it.”  That a writer needs to not only reflect what is happening in the society, but also to take a stand as to what to do about it.   MOTHER COURAGE AND HER CHILDREN was written by Brecht, but has been translated and reinterpreted by modern playwright Tony Kushner, noted for such influential and prize-winning ANGELS IN AMERICA which is built on the Epic concept.   In this writings and Brecht’s other writings, such as THE THREEPENNY OPERA (1928) and THE LIFE OF GALILEO (1943), he set forth to criticize the flaws of capitalism, rant against the futility and ridiculousness of war, and propose courses of action to change our flawed world.   MOTHER COURAGE AND HER CHILDREN was Brecht’s reaction to the rise of Hitler.   His social and political views forced him to flee Germany during the Nazi years, go to and from various European countries, and eventually come and then leave the United States, when he found himself under surveillance by the FBI.   Many of his beliefs were handed down from his devout Protestant grandmother and mother, who not only taught him the ways of the Bible, but that of the "dangerous image of the self-denying woman."  This tenant is a recuring theme in his drama, especially in MOTHER COURAGE.   MOTHER COURAGE AND HER CHILDREN, which many theatrical scholars believe is Brecht’s greatest work, centers on personal survival, the role of motherhood, the evils of profiteering, the cruelty and futility of war, religious hypocrisy, and the dangers of capitalism.   The plot centers on Mother Courage who follows the troops during the thirty years war, selling goods and services, often putting her livelihood above the needs and wants of her three children, all of whom become the casualties of war and profiteering.   The Ensemble production is creatively co-directed by Rebecca Moseley & Ian Wolfgang Hinz.    The duo chose to stage the play in a runway configuration, in which the audience is on both sides of the stage, forcing attenders to not only see the action of the actors, but the reactions others viewers.  This carries out Brecht’s concept of insuring that audience members be aware that they are watching a play, and that they have an obligation to use the information that is being shared with them to go back into the world and take action. The cast of local performers, who are on-stage for the entire performance, often sitting within the audience or perched on various parts of the set, are headed by Laura Rauh, as Mother Courage.  She gives a mesmerizing performance.  She controls the stage with her emotional involvement in creating a self-denying strong woman who knows what must be done to survive, and does it. Strong performances are also given by Dan Zalevsky, as the The Chaplain and Leah Paige Smith as Yvette, a prostitute who, like Mother Courage, also knows how to survive. As her children, Kierstan Kathleen Conway is convincingly pathetic as Katrin, the disfigured daughter, Michael J. Montanus well-develops the role of mentally challenged Swiss Cheese, and Santino Montanez (Eilif) who is effectively strong as the son who goes off to war.   Others in the well-honed cast are Joseph Milan, Kyle Huff, Emily Terry, Arianna Starkman, Kelly Dunn, Mattie Blick, Jabri Little, & Kennan Carosielli.    Katie Wells and Rebecca Moseley’s costumes, Ian Hinz’s lighting and Rebeca Moseley’s props and sound all add positively to the production.   Capsule judgment:   Theatre lovers, rejoice!  At 2 hours and 30 minutes MOTHER COURAGE AND HER CHILDREN is a long sit, but a well-worth investment of time when realizing that you are seeing one of the epics of Western culture’s theatrical cannon which is getting an impressive staging.   The show runs February 9-25, 2024 at Notre Dame College’s Performing Arts Center, 4545 College Road, South Euclid.  There is lots of free parking next to the building.    For tickets go to https://www.ensembletheatrecle.org/mother-courage for more information! Content Advisory: This production contains strong language and themes.   Next up at Ensemble:  The world premiere of THE PROSPECT OF EQUALITY by Rachel Zake.  Ruth Bader Ginsburg’s story!