Review: THE HOUSE OF IDEAS at City Lit Theater

Last week, Marvel Studios released a retrospective video on social media celebrating the 85th anniversary of Marvel Comics (originally founded as Timely Comics in 1939). As much a commercial for products yet to come as it is a nostalgic look back at the characters and storylines that have brought audiences together across generations, the video makes extensive use of archival recordings of Marvel’s primary creative leader Stan Lee. One quote from Lee toward the end of the tribute helps to justify and explain Marvel’s lasting appeal after all these decades. Lee explains that, in all his work, he has “always tried to do stories [in which] the characters have human qualities anybody can relate to.” After all, readers haven’t clung to Spider-Man in all his iterations because of his web-slinging powers, but because they see themselves in the story of an awkward teenager figuring out who he is and what his responsibilities to others may be. What draws audiences to these heroes isn’t their superpowers, according to Lee, but how their stories reflect the full range of human emotions and experiences.

There’s a similar creative impulse at the heart of Mark Pracht’s newest play THE HOUSE OF IDEAS, the completion of a trilogy of dramas exploring the history and significance of comics in American popular culture. Now, Pracht seeks to humanize the two larger-than-life figures—Stan Lee and Jack Kirby—responsible for much of Marvel’s beloved cadre of characters and their lasting success. Receiving its world premiere at City Lit Theatre in Edgewater, THE HOUSE OF IDEAS provides an entertaining history of Marvel's precipitous rise to pop cultural supremacy that nicely captures the collaborative spirit of Kirby and Lee's frequently tumultuous partnership, though more casual fans of the brand may find themselves lost in the play’s more intricate plot points and initially dizzying pace. The production runs through October 6 at the company's home on the second floor of the Edgewater Presbyterian Church on Bryn Mawr.

Opening in 1939 during the earliest days of Timely Comics and ending at a 1980s San Diego Comic-Con, THE HOUSE OF IDEAS traces the development of the frequently fraught partnership between Jack Kirby (Brian Plocharczyk) and Stan Lee (Bryan Breau), including accusations of copyright infringement, disloyalty, and sabotage. Lee is often credited as the chief idea man and marketer behind many of Marvel’s most iconic characters, as much a P.T. Barnum-esque promoter as he was a creative genius. But, at least according to Pracht’s script, Kirby pushed Lee to elevate comics to something resembling more "serious" literature, not just by including more realistic heroes and monsters but by having them consider larger existential questions around power, religion, and the end(s) of the universe(s). It was Kirby’s idea to have Marvel’s "first family," the Fantastic Four, face off against Galactus, a "Devourer of Worlds" who has little concern for the lives and moral sensibilities of mere humans.

Most, though not all, of the play is narrated by the character The Observer (Ben Veatch), an obvious variation on Uatu the Watcher, an omniscient extraterrestrial who is constantly aware of all the events taking place in the multiple Marvel universes, who has been disguised only as much as is necessary to avoid claims of copyright infringement. The Observer fills in any backstory viewers may need to appreciate the relational shifts happening on stage. Veatch makes the role entertaining, even frequently quite funny, with a touch of dry wit and readiness to stand in as various ensemble roles, including an overzealous radio host who interviews Lee near the play's conclusion. But there's no question that we, the audience, would prefer to be shown these character developments firsthand than told about them by an otherworldly figure whose presence may be inscrutable to those not familiar with the intricacies of the Marvel multiverse.

Otherwise, Pracht’s script nicely condenses Kirby and Lee’s story into its most necessary beats, never lingering too long over any given moment, a quality that is as much a weakness as it is a strength. Viewers’ attention remains engaged throughout, but the characters rarely have room to breathe and let the emotional power of their interactions linger. For this reason, the play sometimes feels more like a living history project than a provocative drama. Lee and Kirby’s ultimate reunion near the end of the century is only superficially satisfactory, like watching two long-bickering siblings pull it together for one pleasant family photo.

Thankfully, these two legends are brought to life by performers capable of an emotional subtlety that emphasizes the flawed humanity that drives their creative genius in the first place. As a character, Kirby is primarily driven by insecurity and perceived slights against him that culminate in angry outbursts. But Plocharczyk finds the layers within this anger, visibly relaxing at home under the tender touch of his wife Roz (a charmingly overprotective Carrie Hardin) and illustrating that many of his character’s professional decisions have as much to do with supporting the family he loves as they do with maintaining artistic integrity.

Similarly, Breau makes an excellent Stan Lee, who—with his square-rimmed glasses, nasally register, and perpetual grin—has become one of the most iconic and easily identifiable figures in pop culture in recent generations. But Breau avoids the trap of falling into mere impersonation or caricature. Instead, the actor emphasizes the faults and foibles that make Lee so beloved in the first place, especially the seemingly unsinkable optimism that makes the man so endearing, even if it blinds him to faults in his own business and relationships. And Breau shrewdly uses this energy to keep driving the play forward, even when the script risks slowing down under the weight of its own lore. Kate Black-Spence complements Breau well as Lee’s charmingly ambitious wife, Joan. There’s a moment near the play's conclusion when Joan takes over as the narrator, and one can briefly see the promise of a bio-play of Lee’s life told entirely through her eyes.

Director Terry McCabe makes the most of the space’s physical limitations, using the venue's inherent intimacy to play with how these characters intrude upon each other's lives despite the best of intentions. However, the playing area gets crowded quite quickly when multiple locations are depicted simultaneously. But G. “Max” Maxin IV has created a visual treat for Marvel fans in the audience, his set covered in recreations of panels featuring famous scenes and characters from throughout the brand’s long history. His projections that punctuate the production are visually appealing and illustrative without being distracting, providing viewers with the exact time and location of a scene or displaying the comic art being discussed by Lee and Kirby at any given moment.

City Lit’s HOUSE OF IDEAS serves as an entertaining explanation for how Marvel has maintained such significant staying power in our cultural landscape for nearly a century, featuring realistic depictions of two titans of an industry that has shaped millions of childhood imaginations. Such lifelong fans will likely take great pleasure in seeing their heroes and idols convincingly brought to life onstage, an entertaining reminder of the significant impact of a singular creativity.

Photo Credit: Steve Graue

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