Review: Wave Productions' GOD STEELING Tackles Race and Culture in '80s NYC

Wave Productions in association with Shetler Studios & Theatres presented the World Premiere of Charles Cissel's GOD STEELING. Directed by Robin A. Paterson, GOD STEELING began previews on March 8th at Theater 54. The show opened March 14th.

GOD STEELING is a new play about the ironworkers who build the iconic skyline of New York City. Set in 1980, the play recounts a day in the life of five ironworkers. A Mohawk Indian, a Newfoundlander, the first African American ironworker, a retiree and "a rookie" with the Irish bartender who welcomes them each day, take life-and-death risks up in the air. However, we learn quickly the real conflict takes shape when they come down to earth.

The production stars Estelle Bajou (Mark Ravenhill's pool {no water} at PS 122), Zach Wegner (The Deep Throat Sex Scandal), Michael Basile (All Dolled Up), Joe Cross (Inktomi at The Public Theater), Jay Ward (Best Supporting Actor Audelco Award nominee for Cool Blues at New Federal Theater) and David Zhonzinsky. The set was designed by James J. Fenton. Costumes were by Sarah Gosnell, lighting by Robin A. Paterson and sound by Craig Lenti. Fight direction was choreographed by Andrew Kenneth Moss and stage management was by Laura Lindsay.

Charles Cissel has had four plays produced Off-Off Broadway: Home Sweet Home/Crack, Rosa Rugosa/Touch Me, Organic Shrapnel, and Splatter. Robin A. Paterson's international career spans more than 150 productions. Active in the creation of new plays as a director, designer and producer, he has collaborated on more than 50 premieres. New York directing credits include Two-Man Kidnapping Rule by Joseph Gallo (New Ohio Theatre); Psychomachia by Jennifer Lane (Artistic New Directions); Stress Positions by Daniel Sweren-Becker (SoHo Playhouse); Humans Anonymous by Kate Hewlett (Bridge Theatre Company) and Making Marilyn by Ken Cameron (Bridge Theatre Company). Since September 2006, Robin has been the Managing Artistic Director of Shetler Studios & Theatres.

GOD STEELING was a super interesting play. Couching this relationship story within the social and political climate of the early 1980s is not something that I frankly see enough. How race, social standing and culture plays into the lives of these union "brothers" is a bottomless pool of material.

Also, using New York City as a backdrop, Cissel adds the most interesting antagonist literally possible to GOD STEELING. How is this group of friends (who otherwise would probably not be) drawn together by the grittiness of the city pre-Guiliani administration? There is also an undenyable sadness when they talk about the building of the Twin Towers, obiviously something these characters would have helped build. One begins to wonder what these characters look and feel like twenty-one years later.

Overall, I would like to have seen a bit more subtlety in the performances. The performances didn't match the space they were in. I feel that the intimacy of the space played into this clash. The "largeness" of the performances didn't match up with how close the audience was to the performers.

I do have to say that James Fenton's set is worth the price of admission. When you walk into the theatre, you are literally walking into the bar. From the repaired stools to the mismatched floor tiles, the set was so realistic, you literally can name the street corner in Hell's Kitchen where you can find this bar.

GOD STEELING runs through March 24. Performances are Thursday & Friday at 8pm, Saturday at 3pm & 8pm, and Sunday at 3pm. There is an added performance March 20 at 8pm. Theatre 54 @ Shetler Studios is located at 244 West 54^th Street, 12^th floor, between 8th Avenue and Broadway -- accessible from the A, B, C, D, 1&9 trains at Columbus Circle. Tickets are $18, available at www.smarttix.com or 212-868-4444.

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