Dead White Males

Reviewed by Holly Bartges

Would that William Missouri Downs’ (see Interviews) play Dead White Males at Miners Alley Playhouse was only a bad comedy stab as a result of too many rude late night ordeals from correcting papers.

A scene from Miners Alley Playhouse’s production of Dead White Males

Would that Dead White Males was another slap-stick comedic mind wanting to cut more fringe away from the absurd notion that comedy can be funny no matter how inconsiderate it might be.

No matter how much we try, Dead White Males is truth bolstered by a comedic feel. Even Mary Poppins had to remind us “a little bit of sugar makes the medicine go down.” Without the comedic flair, the truth of Dead White Males would cut to the quick, making it impossible to stomach, much less tolerate.

In spite of it all, you still want to hear Downs say, “Of course, most of it I made up to exercise the creative spirit.” He doesn’t, he won’t. He can’t. Every scenario is true. Every scenario demands attention. Even though every scene is given a little bit of sugar coated comedic treatment, he leaves the ending deliberately hanging in the air. Bummer.

Dead White Males confronts education with sharpened horns, blaring nostrils and big brown flirting eyes to off set the deadly truth pawing the earth with powerful hooves.

Education plowed head first into logistic games of upside down semantics, political war games of political correct diatribe hiding behind obscure wording of administrative barriers.

Miners Alley Playhouse took a gigantic risk producing Dead White Males. It deserves magnanimous credit for the insightful visionary eye of director Rick Bernstein.

L. Corwin Christie wraps herself snugly in the heart and soul of Janet Greenberg, an idealistic, energetic, bright-eyed and bushy-tailed new teacher beginning her career at Rocky Rye Grad and Middle School, District 179 in Pinnacle, Colorado. A relatively innocuous teaching evaluation turns into a confusing blockade for Janet. While teaching her sixth grade American History class, Janet contends with three pompous self-righteous administrators sitting behind her: Master Teacher Burns, sharply chiseled by Suzanne Mayer, Principal Jerome Pettlogg, with stunning rigidity played by Pete Nelson, and school board member Dr. Ozy Mandias smugly portrayed by Jake Mechling. They instruct Janet to continue as though they weren’t there, blatantly interrupting her every few seconds. When she calls their obvious presence to the attention of the students, the politically authoritative trio demands she must not refer to them. She must pretend they just aren’t there.

Doris Franklin, strikingly portrayed with strength, power and a touch of renegade rebellion by Boni McIntyre, is assigned to Janet as her mentor.

Gloria Elizabeth Woods, Doris’ best teacher friend and an art teacher certified to teach science is captured and captivated by Priscilla Young.

Jeffrey Haas tears the heart to pieces surrounded by gentle laughter with his portrayal of Johnny Chapman a special needs student who is big for his age.

Written in epic style, the characters move from one scenario to another. First glance reveals unrelated themes, until one realizes they are not only related but also tightly woven together.

It is the stodgy, stuffy Master Teacher Burns who points out to Janet she spends a lot of time on Dead While Males such as Thomas Jefferson and George Washington, when she could emphasize a Revolutionary War Hero “with a diverse ethnic background.” Janet was certified in teaching art. Revolutionary War Heroes do not stand out in her memory. Christie’s expressions are classic, nudging a giggle dipped in poignant school glue.

With a brilliant combination of humor graciously surrounded by very funny tightly woven lines, this dark comedy digs for truthful enlightenment floating throughout public education. Delving with double-edged swords, it asks “what happens when: individuals seek power to further their personal agenda rather than serve the better good; old convention supplants reasonable wisdom; saving face take precedence over shepherding the safety and well being of the children placed in our care; children in need are cast off as someone else’s problem, teachers who care are railroaded to maintain the status quo, and self-interest dominates common sense.”

Throughout the numerous scenes, humor incessantly slaps you on the knee then socks you between the eyeballs with unmitigated revelatory truth.

The play ties elements together the media reports to us all the time, in one form or another. Dead White Males shoulders the courage to thrust onto the stage a subject everyone shudders under its very weight: the pedophile corralled inside authority.

Nelson traveled to a faraway dark, ugly place to construct his character, taking a journey many actors would skittishly create excuses to hide behind. Nelson walks through the tunnel emerging with a perfected character. This gifted actor gives an astonishing performance, even when sitting in the center of the stage without his trousers.

Daniel Lowenstein grasped the meaning behind the Dead While Males, designing a set highly influenced by school trappings. The set allows room for scenes to flow smoothly from classrooms, to offices, to hallways, to rehearsal rooms. Lowenstein created a striking three-dimensional framed picture on the back wall featuring Mount Rushmore splashed with a touch of artistic flair.

When a catastrophic episode rips through the school system, Janet leaves teaching to wait on tables at Red Lobster. She loves teaching. In spite of her inability to fit into a cut and dried archaic mentality, she’s good. There is the wanting for something to happen to inspire her to return to the classroom. She could do it. She could take care of things. She could make everything “all better.” She doesn’t. She can’t. She won’t. Her frustration becomes the audience’s frustration. Her mandate becomes the audience’s mandate. We have seen the needed response, and “it is us.”

Would that every school administrator, every teacher, every parent, and, yes, every student within earshot of Golden could experience Dead White Males. The very reason some might think children shouldn’t be subjected to this play is the very reason they should be. Ignorance is no longer bliss. Ignorance is “deadly.”

This is an extremely important play; executed by a highly energetic, dedicated, artistic talented cast, crew.

Astonishing how a play could be written with such tenderness, sympathy, humor, understanding and still drive the nail into the heart of the matter with exceeding force. It is creative verbal genius.

This is one production that should not be missed by anyone for any reason, under any circumstance.