See the women who keep the government running in spite of a nosy reporter looking for a headline, their interpersonal conflicts, a ditzy doxy, the foibles of the President’s family, and the stupidity of the President. This is POTUS Or Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive and it is currently playing at BlueBarn Theatre.
Serena Fillinger has written a refreshingly original comedy about governmental chaos and what impressed me the most about her script is how it evolves (or devolves depending on one’s point of view) over the course of the show. During the first act, while the antics are exaggerated, it paints a believable picture of the work needed to constantly cover the President’s behind especially when he’s his own worst enemy. In Act II, the action and story become broader and reminiscent of the old Benson TV series. I thought Fillinger could have utilized a more definitive ending to the story, but she does plant the seed of hope and I can’t help but wonder if a sequel isn’t on her mind with the numerous storylines generated by the play. I also liked the clever touch of not naming or showing the fictitious President and utilizing a number of traits culled from real life POTUSes to build his personality. I counted traits and behaviors from at least 5 previous leaders.
Susan Clement’s direction is full of vim, vigor, and vitality. She cuts a lightning pace that never feels too fast, but always has the delightful tension that things could rocket off the rails due to all of the spinning plates. Clement manages the space well as her actors are never static and always move around enough to keep scenes lit and lively. Clement has also led her thespians to rock solid performances with well-defined and delineated characters.
This play is truly an ensemble piece with everybody getting their moment in the sun. You’ll be treated to a great performance from Breanna Carodine as a tabloidy reporter seeking a salacious scoop to boost her career. Sydney Readman is deliciously dim as the President’s mistress who is capable of astonishing moments of insight and skullduggery. Theresa Sindelar shines as the play’s wholly good person as the insecure secretary with an immense skill set. Sindelar gets one of the night’s best bits with a prolonged descent into insanity due to accidentally ingesting some illicit substance.
Kim Gambino’s Bernadette is trouble with a capital T. Bernadette is the black sheep of the President’s family and Gambino plays her as a mannish thug basking in the belief that she’s bulletproof due to the President being her brother. Gambino is a hoot as the unrepentant criminal who can practically taste the Presidential pardon she’s certain is coming her way so she can go back on the streets to indulge in drug dealing, scamming, and other assorted crimes while breaking a few hearts along the way.
Nina Washington is a blend of confidence and arrogance as the First Lady, Margaret. The first is well-deserved from her own accomplishments and the second is likely needed to handle the outsized ego of her husband. Washington’s Margaret always wants the spotlight to shine on her when interviewed and subtly (and likely accurately) implies she could run the country better. Margaret clearly loves the power of being a First Lady which is the only reason she sticks with her ogre of a husband. Washington does an excellent job infusing characteristics from several of our most prominent First Ladies while adding something of her own to the mixture.
Ashley Kobza’s Jean has the thankless task of spinning the President’s acts of idiocy and carelessness into face-saving stories as the press secretary. Kobza brings a very stalwart and dedicated personality to Jean who is very good at what she does, but is clearly weary due to constantly protecting the President’s tookus. She manages to survive the job by knowing just enough of the things she doesn’t want to know about so she can make things seem rosier than they are.
Kim Jubenville has the even more thankless task of actually running the country behind the scenes as Harriet. Jubenville is wound so tight as Harriet that one fears she may snap at any moment. Harriet clearly harbors dreams of one day being the President herself and is more than up to the task of doing so as she plots the path of the country and puts her words into the President’s mouth as Chief of Staff. Indeed, if only POTUS could stop being himself and simply rely on the wisdom of Harriet, the country would be in much better shape.
Denise Ervin’s costumes well suit the power levels and personalities of the various characters. Jean, Margaret, and Harriet all wear power suits while Sindelar’s Stephanie wears a more business professional outfit. Bernadette is decked out in fatigues and fills a tuxedo well when she prepares for some Presidential impersonation. Martin Marchitto has skillfully built a less is more set with three cabinets, a pair of Roman columns that spin to show the inside of the Oval Office, and adorned with the flag above it all. Michelle Harvey’s lights keep the actors well lit and the psychedelic lights for Stephanie’s acid trip are well done. Bill Kirby has the actors’ voices ringing about the theatre and provides some ambient noise especially the thump of a thrown bust at a key moment. Amy Reiner’s props fill in the world while Kevin Barratt choreographs a humorous chase sequence to close out Act I and Natalie Hanson designs a comical dance number for the FML conference in Act II.
POTUS is an intellectual comedy that poses some interesting questions about who really runs the country, what it takes to run the country, and why hasn’t a woman yet held the office. Your sides will be split and you should get a ticket as they are starting to become a rare commodity.
POTUS Or Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive runs at BlueBarn Theatre through June 23. Showtimes are Thurs-Sat at 7:30pm and Sundays at 6pm with a 2pm performance on June 16 and 23. Tickets cost $44 and can be obtained at www.bluebarn.org or by calling the Box Office at 402-345-1576. Due to adult language, this show is not suitable for children. BlueBarn Theatre is located at 1106 S 10th St in Omaha, NE.
Chris' Corner 