BWW Reviews: ALL THE WAY is an Intriguing Look at the Accidental President

'What the hell's the point of being president if you can't do what you know is right?" That single statement, made by President Lyndon Johnson, sums up the theme of ALL THE WAY; a new play by Pulitzer Prize winning playwright Robert Schenkkan, now playing at ZACH Theatre. Winner of the Tony Award for Best Play, ALL THE WAY examines the period between Kennedy's assassination and Johnson's landslide reelection on November 3, 1964. ALL THE WAY is the first of two plays by Schenkkan on Johnson's presidency. The second part, THE GREAT SOCIETY, continues the Johnson story from 1964 to 1968.

The main thrust of the play is Johnson's machinations in maneuvering the 88th United States Congress and civil rights leaders including Martin Luther King, Jr. to pass the Civil Rights Act of 1964. Schenkkan has described it as a play about 'the morality of politics and power. Where do you draw the line in terms of intentions and action. How much leeway does a good intention give you to violate the law?'

This is a much more sympathetic portrayal of Johnson than we have seen before. Johnson is portrayed as vulnerable, while riding roughshod over his wife, Lady Bird Johnson, and his longtime aide, Walter Jenkins, who he abandons after he is arrested on a morals charge. He manipulates Humphrey by promising the vice-presidency to him if he gets him the results he wants from civil rights leaders and liberal congressmen. Act One ends with the civil rights act passing the Senate by using cajolery, arm-twisting and blackmail to get his way. ALL THE WAY uses congressional terminology unusual in Broadway plays, such as 'cloture' and 'filibuster,' which are mechanisms used to extract bills from committee. ZACH has made a terrific Audience Guide to help people understand the terminology and background of the times.

In the second act, the action shifts to Atlantic City, New Jersey, and the battles brewing at the 1964 Democratic National Convention. The segregated Mississippi delegation is challenged by the integrated Mississippi Freedom Democratic Party. Dr. Martin Luther King Jr. is contending with two factions: conservative leaders like Roy Wilkins who opposes civil rights marches and militant leaders like Stokely Carmichael, who favors strong action. The activist leaders prevail, launching 'Freedom Summer,' which has young college students riding buses into the south to desegregate facilities. Three Freedom Riders (Michael Schwerner, Andrew Goodman and James Chaney) are slain, forcing Johnson to send in J. Edgar Hoover to eavesdrop on Dr. King. Johnson must find a way to appease both sides and not lose the South.

The technical aspects of this production are top notch. Cliff Simon's set design is a marvel of functionality as well as a statement on the subject matter. I especially appreciated the use of the hydraulic lift and projections of names, political parties and locales to clue you in to where you were and who was speaking. Dave Steakly's direction keeps the piece moving with great fluidity. This was absolutely necessary with such a talky piece. Also worth noting are the costumes of Michael McDonald, the lighting design of Michelle Habeck and the excellent sound design of Craig Brock.

This is an exceptionally strong and versatile company with no weak links. Standout performances are given by Steve Vinovich as LBJ, Nicole Schiro as Lady Bird and Katherine Graham, Melvin Abston as Martin Luther King, Michelle Alexander as Coretta Scott King and Fannie Lou Hamer, Robert Walden as J. Edgar Hoover and Robert Byrd, and Craig Rooke as Walter Jenkins.

One of the most effective moments in the evening is the singing of a spiritual at the funeral for the young Freedom Rider. The scene is both chilling and uplifting, due in no small part to the voices of the performers.

For a fascinating and informative look at the machinations of politics, ALL THE WAY is the way to go.

Running time: Three hours and 5 minutes with one 20 minute intermission.

ALL THE WAY, produced by Zach Theatre playing in The Topher Theatre (202 South Lamar Blvd.) April 8 - May 10, 2015. Wednesdays through Saturdays, 7:30 pm. Sundays at 2:30 PM. Tickets start at $25. Reservations: http://tickets.zachtheatre.org/

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