BWW Reviews: South Coast Rep Presents World Premiere of ZEALOT

In the volatile arena of international politics, there is always risk when waging an ideological tug-of-war in someone else's sandlot. One decision could mean the tipping point between saving one life versus endangering hundreds, if not thousands.

In the world premiere production of playwright and TV writer Theresa Rebeck's ZEALOT---now performing at South Coast Repertory in Costa Mesa through November 16---that sandlot is Mecca, Saudi Arabia, where such a tug-of-war is about to be waged right at the start of what is referred to as the "Hajj," the annual Islamic pilgrimage that all Muslims are religion-bound to make at least once before they die. With millions flocking to the area in sacred observance, it's only fitting to foreshadow that something is about to go terribly wrong.

When the play begins, we first meet American Undersecretary of State Ann Haddad (Tony nominee Charlayne Woodard), who shows up unannounced in the finely appointed office of British consulate Edgar Featherstone (Alan Smyth) housed inside the protected walls of the British embassy in Mecca. The hungover---and, therefore, tardy---Mr. Featherstone is understandably out of sorts at the sight of his unexpected guest, which he alleviates by offering some tea, scones, and a bit of his charming British wit.

Eventually all the awkward pleasantries and tea-sharing give way to the revelation as to why the Undersecretary has paid a visit. Apparently there's been a fair amount of alarming "internet chatter" that's raised a red flag---signaling the need for swift preparation and her required presence in the region on behalf of the United States.

Soon, that impending event explodes to fruition: what was supposed to be a peaceful, religious demonstration that involved a "tribe" of Muslim women at one of Mecca's holy places is unfairly met with bloody violence and subsequent rioting. And what exactly was their act of blasphemy? Apparently they completely removed their head wraps and knelt before their deity in reverent prayer. Yikes.

The biased report of the ugly occurrence is relayed hysterically first-hand by local Saudi minister Usama (Demosthenes Chrysan), who barges into Edgar's office covered in blood. Like a stubborn grandfather with irreversible convictions, he demands immediate justice for the shame brought on by the women in this holiest of days. Edgar and Ann, of course, want to investigate the incident further, while remaining cautiously cognizant of what their host country's wishes may entail (though, it's not hard to speculate what that might be).

Along comes a young Muslim woman named Marina (Nikki Masoud), one of the few who escaped death during the violent response to her group's prayer circle, herself covered in splatters of blood. She demands an audience with Edgar, which he allows despite the disapproving eyebrow-raising of Usama and Edgar's own personal secretary Yousef (Adam El-Sharkawi).

"It was not a protest! It was a prayer!" she vehemently insists. Here, young lady, have a scone.

Swearing that she and her fellow women had no weapons and that the men that accosted them instigated the chaos, she retells her harrowing ordeal with a deep sadness shrouding her face. Marina not only wants to tell her side of the horrible story to the foreign dignitaries, she also wants to seek protection through political asylum---an understandable request given what she's up against in such a patriarchal society.

Naturally, it's difficult not to feel sympathy for her plight. Usama, as expected, wants the young woman to be turned over post haste to the Saudi authorities to face her due punishment, but Ann and Edgar feel tentative about what is the best and most humane course of action---which they both can't seem to agree on either.

This, of course, triggers the raison d'être of ZEALOT: a carefully-considered, if endlessly circling debate on the merits of whether to comply and honor (if, tolerate, really) a host country's "traditional" rules (even if it makes you cringe), or to allow Western ideologies to triumph in order to best serve the needs of a fellow human---a fellow global citizen---in dire need of care and protection. Either way, many will no doubt suffer.

While Rebeck's play, helmed by SCR's own artistic director Marc Masterson, is generally insightful and tries its best to present a conflict that's quite topical nowadays---particularly in the uneasiness of today's geopolitical landscape---I'm not sure if the labored, seemingly incomplete drama is presented as successful as it intended itself to be.

ZEALOT certainly has its tense moments (and even a few genuine light moments that break up the tension with a few well-placed chuckles), but the play doesn't quite reach the point of heightened urgency you would come to expect in a drama with such a politically-charged storyline (let alone one from Ms. Rebeck). For me, overall, I wasn't at the edge of my seat, biting my nails, and stressing out about what's going to happen next---even with the character of Marina, whose life figuratively hangs in the balance.

When a play has plenty of time for an opening sitcom-ish pencil-spilling sequence, the occasional tea-and-scones-and-faux-pleasantries break, and even a sequence where the young woman in peril---who apparently has Allah on direct speed-dial---defies her own timidness and chastity for a chance to touch her handsome host's face... you know the production needs some serious rejiggering.

And though I certainly feel some empathy for the young woman---as someone who pretty much had to squelch her true self and continually abide by the time-locked conventions of her devout surroundings, sacrificing her own growth potential as a woman and as a human being---she sort of loses me a bit there, even if it was this unique character's chance to feel something in the safety of an office with a closed door.

Additionally, neither the uppity Ann nor the looser Edgar outwardly present any real command of authority of the situation. As portrayed, they both feel and act like ad hoc temps in their positions, so it's a bit difficult taking them too seriously---or, worse, it's difficult having enough faith in them to see these diplomatic negotiations through to a satisfactory conclusion. While, Smyth and Woodard certainly give layered gusto to their respective roles, their characters nonetheless bicker much more like a couple of immature teenage lovers (man, I would have loved it if the two shared a secret past, then at least that's something).

While certainly visually arresting thanks to the beautiful work of set designer Ralph Funicello, ZEALOT, as it stands, feels pretty unfinished, as if there's plenty more to explore and unearth in the narrative that didn't quite make it to the page (and, consequently, the stage).

Granted, this is technically a first-pass, so, of course, it requires a lot more tweaking and re-writing to steer itself away from playing out like a two-parter "special" of an episodic television series that's perhaps meant to continue on as a separate pilot (the play clocks in at 90 minutes with an intermission).

Well, hey... there's an idea! Perhaps Ms. Rebeck should repurpose this as a TV mini-series instead.

The bottom line, though, is that despite its flaws, ZEALOT does incite something it most likely meant to do all along: provoke discussion.

Follow this reviewer on Twitter: @cre8iveMLQ

Photos by Ben Horak/SCR.

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Performances of the World Premiere production of ZEALOT continue at South Coast Repertory through Nov 16, 2014. Tickets can be purchased online at www.scr.org, by phone at (714) 708-5555 or by visiting the box office at 655 Town Center Drive in Costa Mesa.

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