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Review: Jefferson, Dickens and Tolstoy Debate Jesus. ‘Discord’ Ensues. Review: Jefferson, Dickens and Tolstoy Debate Jesus. ‘Discord’ Ensues.
(about 11 hours later)
Charles Dickens, as you might expect of a novelist who made his fortune writing serialized cliffhangers, would like a little more drama with his religion. He has just been listening to Thomas Jefferson deliver a rather dry version of the New Testament’s parable of the talents.Charles Dickens, as you might expect of a novelist who made his fortune writing serialized cliffhangers, would like a little more drama with his religion. He has just been listening to Thomas Jefferson deliver a rather dry version of the New Testament’s parable of the talents.
As far as the author of “Great Expectations” is concerned, such a presentation — even from a former president of the United States, in biblical exegesis mode — simply won’t do. “Tales must sparkle,” he insists. Otherwise, how on earth (or in heaven, or limbo) do you capture a listener’s attention?As far as the author of “Great Expectations” is concerned, such a presentation — even from a former president of the United States, in biblical exegesis mode — simply won’t do. “Tales must sparkle,” he insists. Otherwise, how on earth (or in heaven, or limbo) do you capture a listener’s attention?
That’s the problem facing Scott Carter, the writer who has so venturesomely put Jefferson, Dickens and Leo Tolstoy in a sealed antechamber to the afterlife, along with a copy of the Bible and some pens and paper. The onerous weight born by anyone who hopes to find the crowd-captivating sparkle therein is suggested by the title of Mr. Carter’s play, which opened Sunday night at the Cherry Lane Theater. That’s the problem facing Scott Carter, the writer who has so venturesomely put Jefferson, Dickens and Leo Tolstoy in a sealed antechamber to the afterlife, along with a copy of the Bible and some pens and paper. The onerous weight borne by anyone who hopes to find the crowd-captivating sparkle therein is suggested by the title of Mr. Carter’s play, which opened Sunday night at the Cherry Lane Theater.
That’s “The Gospel According to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: Discord.” It could be worse, mind you; that last word could, instead of “discord,” be “discuss” (as an imperative at the beginning of an essay test), which might remind you of anxiety dreams about college finals.That’s “The Gospel According to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: Discord.” It could be worse, mind you; that last word could, instead of “discord,” be “discuss” (as an imperative at the beginning of an essay test), which might remind you of anxiety dreams about college finals.
Come to think of it, the conjuring of such nightmares would generate more dramatic tension than this carefully laid-out, compare-and-contrast debate of a play, which is notable for its clarity and accessibility, but not so much for its sparkle. Not that the creative team behind this Primary Stages production, directed by Kimberly Senior (“Disgraced”), doesn’t do its best and broadest to tickle while it teaches.Come to think of it, the conjuring of such nightmares would generate more dramatic tension than this carefully laid-out, compare-and-contrast debate of a play, which is notable for its clarity and accessibility, but not so much for its sparkle. Not that the creative team behind this Primary Stages production, directed by Kimberly Senior (“Disgraced”), doesn’t do its best and broadest to tickle while it teaches.
But the surprises of this ambitiously conceived, modestly realized work are pretty much over once you’ve accepted its fanciful premise. To wit: Jefferson (Michael Laurence), Dickens (Duane Boutté) and Tolstoy (Thom Sesma) have died and gone to… well, where exactly? The silver-toned room in which they have found themselves (Wilson Chin did the set) certainly doesn’t match any of their preconceptions of heaven or hell.But the surprises of this ambitiously conceived, modestly realized work are pretty much over once you’ve accepted its fanciful premise. To wit: Jefferson (Michael Laurence), Dickens (Duane Boutté) and Tolstoy (Thom Sesma) have died and gone to… well, where exactly? The silver-toned room in which they have found themselves (Wilson Chin did the set) certainly doesn’t match any of their preconceptions of heaven or hell.
Or what lies in between, which is presumably where they are. But why have these three, very different but equally egocentric people been brought together? Well, let’s see: one of them is a lesbian postal clerk, who lusts after a vacuous socialite, who in turn is flirting heavily with a macho journalist….Or what lies in between, which is presumably where they are. But why have these three, very different but equally egocentric people been brought together? Well, let’s see: one of them is a lesbian postal clerk, who lusts after a vacuous socialite, who in turn is flirting heavily with a macho journalist….
If only. Those are the characters from “No Exit,” the 1944 play by Jean-Paul Sartre that is obviously the structural model for “Discord,” folks whose philosophizing fractiousness is much missed here. Like that one-acter, Mr. Carter’s play asks its characters to look deep into their souls and admit their bad faith.If only. Those are the characters from “No Exit,” the 1944 play by Jean-Paul Sartre that is obviously the structural model for “Discord,” folks whose philosophizing fractiousness is much missed here. Like that one-acter, Mr. Carter’s play asks its characters to look deep into their souls and admit their bad faith.
Their conclusion, expressed by Jefferson: “Not one of us is perfect.” Which leads to the play’s most intriguing (and, refreshingly, only implicit) point of argument: Does this imperfection diminish the stature of their accomplishments?Their conclusion, expressed by Jefferson: “Not one of us is perfect.” Which leads to the play’s most intriguing (and, refreshingly, only implicit) point of argument: Does this imperfection diminish the stature of their accomplishments?
Before such reckoning, the lost souls of “Discord” must unpack their respective theories of the life of Jesus. While alive, these men created their own condensed (and utterly different) versions of the New Testament. They conclude that the path to redemption lies in their coming up with a single shared interpretation.Before such reckoning, the lost souls of “Discord” must unpack their respective theories of the life of Jesus. While alive, these men created their own condensed (and utterly different) versions of the New Testament. They conclude that the path to redemption lies in their coming up with a single shared interpretation.
And so they quarrel, sometimes violently. Yet even when they’re over-emoting (or Dickens and Tolstoy are, anyway; Jefferson is of a more phlegmatic disposition) these characters seem to be mechanically ticking off boxes on a purgatory registration form, about not only their theories of Jesus but also their own hypocrisies.And so they quarrel, sometimes violently. Yet even when they’re over-emoting (or Dickens and Tolstoy are, anyway; Jefferson is of a more phlegmatic disposition) these characters seem to be mechanically ticking off boxes on a purgatory registration form, about not only their theories of Jesus but also their own hypocrisies.
There is little that’s revealed about their personal lives that couldn’t be extracted from Wikipedia entries. (Or Wikiquote: Dickens, after being stabbed by Tolstoy, says, “This is the worst of times!”) And there’s only so much variation that can be wrung on the common knowledge-confirming, music-hall characterizations of these men.There is little that’s revealed about their personal lives that couldn’t be extracted from Wikipedia entries. (Or Wikiquote: Dickens, after being stabbed by Tolstoy, says, “This is the worst of times!”) And there’s only so much variation that can be wrung on the common knowledge-confirming, music-hall characterizations of these men.
Mr. Carter is the executive producer of “Real Time With Bill Maher,” and has no doubt witnessed many an explosive and unexpected clash of personalities on that HBO talk show, in which pundits and politicians have notoriously gone off script. Unfortunately, the tintype cultural giants he has assembled onstage offer no such thrilling deviations.Mr. Carter is the executive producer of “Real Time With Bill Maher,” and has no doubt witnessed many an explosive and unexpected clash of personalities on that HBO talk show, in which pundits and politicians have notoriously gone off script. Unfortunately, the tintype cultural giants he has assembled onstage offer no such thrilling deviations.