Revolutionary stage

With ‘Dirty Water’ and ‘The General from America,’ local theatre companies offer both a comedic and dramatic look at the birth of our nation

By Paul M. Banks

For many people, the Revolutionary War was their favorite part of U.S. history class, and this world-shifting event still inspires theatre of all kinds 230 years later.

The Revolution may not be televised, but it is discussed over beers at Dirty Water, a fictional South Boston bar serving as the backdrop for a current show of the same name. It’s also powerfully depicted in “The General from America,” running until Oct. 8 at the TimeLine Theatre (615 W. Wellington).

I attended both the 45-minute comedic improv, which shows at the Town Hall Pub, and the two-hour drama, highlighting the inner struggles of the Revolutionary War’s infamous traitor, Benedict Arnold. Both are interesting and entertaining, although they contrast sharply in their methods for captivating the audience. “Dirty Water” is more lighthearted and geared toward the 20-to-30-something set. “The General from America” is better suited for the intellectual and socially conscious demographic.

Dirty Water
One if by land, two if by sea, three bucks a beer

The appropriately named Wicked Good Productions opens “Dirty Water” with the Stendalls’ paean of the same name. You might know it as the song played after a Red Sox victory at Fenway Park. The fun begins with Sully, the bartender (played by Adam Desjardins), asking the audience, “What’s stuck in your craw?” A patron responded “Global warming,” and the show’s wide range of discussion topics began to stray much farther from the film “An Inconvenient Truth” than I ever thought possible. However, Al Gore’s name was mentioned twice. The subject matter varies greatly within each show and usually has something for everyone; this evening’s improv had many 1776 related talking points, including the “Lexington Green.”
The man leading the conversational minutemen was Patrick McDonough, a snarky convenient store owner played by Matthew Hicks, the man who conceived the show. McDonough is always clad in New England Patriots gear; not the current “flying Elvis in a tri-corner hat” silver and blue apparel, but the retro lobster red, which features a logo looking like the colonists in “The General from America.” He offered, “I’m going to get a tattoo that says F--k Paul Revere. He’s only remembered because Longfellow knew his name rhymes with shit,” and “William Dawes was just as important.”

Of course, McDonough’s more reverent buddies then notified him how Dawes rhymes with “supporting the cause” and “threw off the jaws… of oppression.” Later, Ralph Waldo Emerson’s “shot heard ’round the world” hyperbole was trumped by Dirty Water’s “just walk in and shoot is a lot better than just walk in and get shot.”
While five guys shooting the breeze may seem like a banal concept, the observations and opinions stated here are anything but. I doubt that any of my friends could transition as smoothly from obscure Revolutionary War hero Jonas Clark to the posters found in every college girl’s apartment. These were all dead on, but they missed the uber-ubiquitous Van Gogh “Starry Starry Night.” The originality and uniqueness of each set is what makes the humor work. The dialogue will be appreciated by more than just transplanted New Englanders because what’s said here could be said anywhere. However, it would likely be more predictable than what I heard here. I could bar hop for the next 60 years and not hear anyone referred to as “the Benjamin Franklin of the anti-polar bear revolution” again. Jon Dick, who plays Perle Parlon, commented on how this show about Red Sox fans in Southie succeeds in the Wrigleyville neighborhood full of Cub fans.

“There’s a similar vibe; there’s a good-time vibe in both Boston and Chicago and a connection with all those similar die-hard fans,” Dick says before elaborating on the improvisation process. “We take a suggestion and just run with it. We don’t always have a similar point of view, and we make those differences part of our characters.”
To reach a better understanding of Bostonians and their role in Americana, “Dirty Water” is on par with reading Bill Simmons’ “Now I can Die in Peace” or watching a DVD box set of “Cheers.” However, this is the only live option. See it at 8 p.m. Fridays at 3340 N. Halsted. Call (773) 404-2555 or visit www.dirtywaterimprov.com.

The General from America
Benedict Arnold rages against, then for the machine

Like Machiavelli or George Orwell, Benedict Arnold’s name became a colloquialism for describing a personality trait. In this case, it’s the dubious distinction of being treasonous. (The characters from “Dirty Water” would likely use this pejorative on former outfielder Johnny Damon whenever he visits Fenway as a New York Yankee.) In “The General from America,” the lead role of the infamous general is played by Terry Hamilton. He talked with me about adding depth and detail to the historically influenced slang term. “I wanted to flesh him out, make Benedict Arnold as human as possible,” Hamilton says. “Most villains, and I use that term villains with quotes around it, truly believe what they’re doing is the right thing, especially in extreme situations like this.”

Tony award-winner Richard Nelson’s play gives the audience a clear understanding of why Arnold committed treason, but certainly doesn’t apologize for him. As the plot develops, we see how Arnold was incessantly passed over for promotions, had to contribute his own money for building his forces and was made a scapegoat in order to protect the reputation of “his excellency” George Washington. One of the play’s main strengths is the work of designer Alex W. Meadows; the costumes are almost on par with those of Roland Emmerich’s 2000 film “The Patriot.” That is no small feat, considering the Revolutionary War movie reportedly had a budget of $110,000,000.

Patriots Act Accordingly

The program for “The General from America” states: Timeline (Theatre)’s distinctive mission explores the memorable stories that define the past and resonate in the present. The company chooses historically inspired material that will create a dialogue among audience members about the social and political issues facing society today.

With dialogue containing phrases such as “if you don’t believe what we believe, you’re un-American” and “who’s the real patriot?” one could assume this play was written in 2003, during the run up to the Iraq invasion. Also in ’03, a similarly despised and socially ostracized local historical figure emerged. Steve Bartman, the speckled and head-phoned Cubs fan scapegoated for ruining the Northsiders’ postseason run. In Chicago that fall, he became almost as much of a vilified pariah as Arnold in scenes 12 and 13. However, it was actually written 10 years ago.

Mackenzie Kyle, who plays Benedict’s wife Peggy, told me how the final scene is the one which elicits the strongest response from theatergoers.

“We actually heard an audience member say, ‘Oh Jesus, here we go again’ because he thought the speech was about George W. Bush, but it was actually written in 1996, well before what’s going on today,” Kyle explains.

“The final scene crystallizes the entire message of the play,” states Stephan Madar, who plays the British officer John Andre. The Manichaean final speech — which includes “There is a clear difference between good and evil, between right and wrong,” — is delivered to Congress upon Arnold’s death 21 years after he fled to London and states that the justice of Arnold’s death in penury and squalor truly conveys how God indeed blesses America.

The closing dialogue is eerily similar to the current administration’s “anyone who opposes us supports Al Qaeda” type of rhetoric. In an election year, phrases such as these are intentionally manipulated for the purpose of segmenting the populace with divisive “black or white” ideology.

For non-Freedom Trail tour guides, the program contains relevant historical information, timelines and biographies. These facts are supplemented by further enlightening exhibits in the lobby. This drama is both insightful and thought-provoking on the topics of separation of church of state, war profiteering, jingoism and military office politics.

Philip Graham once told us that “journalism is the first draft of history.” The events of the Revolution give us insight into our world today; similarly, what makes headlines today will help articulate a better understanding of our world to future generations.

“There is always going to be war, and during wars, things go crazy,” Hamilton says following the performance. “There will always be fanatics as well as opposing sides, and those that oppose are going to be called un-American.”

For tickets, call (773) 281-8463 or visit www.timelinetheatre.com.

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