Stuff Happens: A well-tamed beast of a political drama

Sir David Hare’s Stuff Happens is the dense chronicle of America’s post 9-11 decision to invade Iraq.  Running concurrent with the US elections, the production offers a well-timed and potent examination of the American identity during Bush’s hawkish and flawed presidency.   Stuff Happens is a three-hour beast of a play that includes testimony (some verbatim, some imagined) from the major political players throughout this era.
Hare is a master playwright and his genius in this play lies in the structure.  His coherent narrative creates a comprehensive chain of events out of the post 9-11 chaos.   In the hands of less skilled actors, this play would flounder under the weight and complexity of the text.  However, the experience and skill of this cast is more than up to the challenge and they are able –in large – to bring the political scene to life in way that is both personal and accessible.   The performances are solid. Kevin Loring is probably the greenest of the bunch, but we see his passion and skill in his performance as the Palestinian Academic.  And it’s hard not to seem a little green when surrounded by heavyweights such as William Taylor (Colin Powell) and David Adams (Paul Wolfowitz), whose vocal skill and presence more than match the giants they play.  Glen Cairns as George Bush is a charismatic blend of aggressive, naive, and pious.  Michael Grant Elliot’s sympathetic performance as the hapless and devoted Tony Blair reveals the hazards of being an American ally during this time.  The only major performance flaw is the bizarre execution of the French dialect, which seems to be butchered and overdone almost across the board (Kevin McNulty excepted).
Condoleeza Rice (Catherine Haggquist) and Dick Cheney (Kevin McNulty) are brilliantly underwritten in the script.  Their conspicuous silence is a potent reflection of their quiet public presence; although both (especially Cheney) are powerful architects in the Bush administration, they seem to operate behind the scenes and reveal little of themselves to the media.  Cheney’s silence tellingly breaks when he advises Bush to abandon Britain and invade Iraq without a second UN resolution.  This disastrous betrayal of Tony Blair is portrayed bitingly and perfectly by Kevin McNulty.  Haggquist and McNulty, despite relatively few words, capture the essence of these reclusive and mysterious Bush operatives.
Although the play is an ensemble piece, the narrative burden often falls to Colin Powell.  Perhaps Hare uses Powell because he is the most sympathetic member of the administration who clearly represents the “every man” perspective.  Taylor’s deeply felt performance reveals his struggle as he is caught between his conscience and his leader.
Hare’s inclusion of global players highlights the complexities of this issue on the world stage.  Hare focuses on the French and British perspective, but also includes the opinions of a Palestinian academic, an Iraqi exile, Kofi Annan, and Hans Blix, to name a few.  Because the cast is talented, none of these smaller parts is wasted; the inclusion of these characters illuminates world opinion and keeps the action moving.
Donna Spencer’s precise direction is clean, efficient, and fast-paced.  She uses Craig Alfredson’s set design to its fullest, moving the action crisply from one area to the next with maximum efficiency.  Rolling chairs and a table instantly create boardrooms and offices.  When the audience first enters the space, three hanging projection screens (designed by Alfredson, programmed by James Foy) revolve through television news coverage.  Throughout the course of the play, the projections carry news flashes, woodlands, British streets, the White House, etc to quickly evoke a new landscape and move us around the globe.  Rebekah Johnson’s lighting design is key in directing our focus.  All the production elements (direction, set, lighting, projection) work together impeccably to keep the action moving and clarify the story.
Firehall Art Centre’s production of Stuff Happens is sharply executed, movingly performed, and highly relevant.  The show’s herculean effort deserves a far greater audience than it had when I attended, and I am saddened that it may not get the praise that it deserves.  The houses may be quiet because Stuff Happens is a challenging play, one that requires undivided attention and a willingness to revisit uncomfortable events.  However, at a time when America is moving with relief into an era of change, she and her allies must never forget the damage done by an arrogant administration.  The play closes on November 8th, and there’s still time to catch it while W. is in office.