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Hanging By A Thread
by Stephen Morgan-Mackay
The Life and Times of Lee Harvey Oswald reviewed May 28, 2004
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| This Oswald puppet by Theresa Linnihan is based on the iconic |
| Photo Credit:Orlando Marra |
| Lee Harvey Oswald is a puppet. This sentiment comes as no surprise to conspiracy theorists and baby-boomers alike, and is often propagated by films like Oliver Stone’s J.F.K.. The terms the magic bullet and the grassy knoll have fertilized the imagination of the American populace, while simultaneously planting the seeds of discord. But what if he really did it? What if the planets were aligned just right? And what if, just maybe, Oswald, despite seemingly popular opinion, was not the puppet-but the puppeteer?
This often-neglected path of reasoning is explored in great depth by Vit Horejs and the Czechoslovak-American Marionette Theatre in their production of The Life and Times of Lee Harvey Oswald at La MaMa. Director Horejs’ approach fuses puppet characters from the traditional Czech Marionette repertory with stock characters rooted in Greek tragedy. Through this dynamic approach, Horejs suggests that Kennedy’s assassination was the result of disgruntled patriotism coupled with inadequate security measures.
The story traces Oswald’s life across several locations worldwide while the Book Depository looms steadfast in the background intermittently offering its cardboard boxes as props and furniture. This interactive nature is echoed in the production’s usage of over 50 small marionettes and a chorus of fearsome dummies that intermingle with live performers. Director Horejs is to be commended on his approach to non-traditional puppetry that blurs the line between actor and puppet with an expressive, movement-based style that relieves the eye of confinement. Horejs’ concept, while original, embraces a melodramatic air that lends an air of vulnerability, if not humor, to a work that begs to be taken seriously.
David Michael Friend (Oswald) leads the cast of veteran puppeteer/actors, who, except for Friend, are multi-cast. There are some timing/cue discrepancies that, given a slight bit of polishing, would benefit the production. Overall, the ensemble gives a daring attempt to embody the eclectic world of Oswald and should be commended on a performance that runs an hour and forty-five minutes without an intermission.
It is refreshing to see that challenges are still being taken with redefining controversial historical events. It could very well be argued that how we perceive those events takes priority over the events themselves. The issue of Oswald’s guilt or innocence will, undoubtedly, rage on for another forty years. And it is how we perceive the truths surrounding such events that will prevent us from becoming puppets ourselves.
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La MaMa (First Floor Theater)
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Category: Puppet Theater
Written by: Vit Horejs
Directed by: Vit Horejs
Produced by: Presented by LaMama e.t.c.
Opened: May 27, 2004
Closed: June 13, 2004
Running Time: 1:45
Theater: La MaMa (First Floor Theater)
Address: 74A E. 4th Street
New York, NY 10003
Yahoo! Maps Directions
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Tickets: $15.00
TDF
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Creative Team
Written by: Vit Horejs
Directed by: Vit Horejs
Produced by: La MaMa E.T.C.
Light Designer: Stephano Zazzera
Set Designer: Theresa Linnihan
Choreographer: Martha Tornay
Marionettes By: Milos Kasal
Dummies By: Vaclav Krcal
Dummy Costumes By: Eva Pechackova
Cast
Deborah Beshaw as Ensemble, School Psychologist, and J.F.K.
Michelle Beshaw as Ensemble, Marguerite, and Marina Oswald
Benjamin Caron as Officer Tippit and Musical Accompaniment
David Michael Friend as Lee Harvey Oswald
Vit Horejs as Ensemble and Agent
Ron Jones as Ensemble and Dr. Rosenstein
Sarah Lafferty as Ensemble and Dolores
Theresa Linnihan as Ensemble and Boy Child
Emily C. Wilson as Harvey Lee, a.k.a. A.J. Hidell
Crew
Stage Manager: Carolina Guerrero
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