Seattle Review: God's Country

Based on the disturbing story of local white supremacist group The Order, and the subsequent murder of radio shock jock Alan Berg, Stephen Dietz's God's Country is an unflinching look at the fear and hatred that envelop people's lives.  Part courtroom drama, and part Brechtian spectacle, God's Country is a tricky piece of theatre.  There are countless characters packed into a complex story.  Dietz blends fantasy and reality in a provoking text that supplies its audience with more questions than answers.  After being seen in nearly every country, God's Country has returned to Seattle/>/> in an ambitious new production at Capitol Hill Arts Center (CHAC). There is something chilly about presenting this play in the city where the trial took place, in the same state where such hatred spewed.

Almost twenty years have passed since ACT Theatre commissioned Dietz's play, but the themes still remain as topical as ever.  Many of these historical narratives have been seen in recent years, most notably in The Laramie Project.  Telling these true stories on stage can be powerful stuff, as reality and fiction cross paths to create something truly theatrical.  Dietz manages to keep his text grounded in truth, while using convention to create a piece that never feels overly preachy. 

Unfortunately, CHAC's uneven production doesn't do full justice to Dietz's work.  Sheila Daniels' stylish direction is heavy on the visuals, but leaves a lot to be desired both in story and acting.  One of Seattle/>/>'s strongest directors, Daniels' work seems misguided here.  She has put great pain into choreographing the piece, but has also made the evening as fast as possible.  Her actors frequently stumble over their lines, as they plow through the piece quickly.  While the speed works in the courtroom scenes, many of the introspective nature of the text are absent.  Plot points are lost, powerful moments abandoned, and symbolism becomes more of a prop than a tool.

The stunning stage pictures Daniels creates with her actors mean little when the story isn't being clearly told.  The evening is full of Nazi symbols, meant add power, but that power is lost in odd line readings and lack of communication between actors.  Each actor seems to be in their own world, and there are only a few moments where they actually acknowledge each other. While Dietz's play does have Brechtian influence, it seems odd that some of the company avoids interaction.  The actors seems more concerned with carrying out their complex blocking and getting their words out than they do with staying true to the text. 

Daniels' style is tolerable in the first half, but she goes overboard after intermission, and overloads us with countless images that become repetitious. While her detail is appreciated, it often seems too stylistic for a text with such a tricky story.  It's like a history class without the required reading. 

Despite unclear direction, two powerful performances emerge.  Peter Dylan O'Conner gives an eerie portrayal of The Order leader Robert Jay Mathews.  His presence is felt every time he is on stage, and he gives an unflinching look at the madness that lead to these tragic events.  Mathews owns every scene he is in, and Daniels makes sure to make him the center of story.  O'Conner gives a quiet performance that becomes even more powerful in his few verbal moments.  As radio personality Allan Berg, John Farrage shines.  He makes Berg more than just a controversial figure, and gives rhyme and reason to a man who simply wanted to provoke his listeners.

These two performances manage to escape the heavy style of this production, but the rest of the ensemble isn't as lucky.  Awkward line readings, one dimensional portrayals, and safe choices prevent the rest of the talented ensemble from making much of an impression.  Dietz uses some comic moments to release tension, but some of the actors seem to cherish these lines more than the dramatic ones.  While O'Conner and Farrage manage to find balance in their performances, the remaining actors don't layer their work as easily.  The ambition and passion is present, but all the pieces don't fit easily together.  Dietz's tricky dialogue gets lost in over-the-top choices that don't have much focus. 

Erin Eave's industrial set creates many levels on stage, but its rolling platforms give the company yet another task to add to their already overflowing homework.  It is another trapping of this production, as actors must move quickly, speak quickly, and function as the stage crew.  Jon Harmon's lights add some texture, but the frequent changes from darkness to blinding brightness don't seem to have much purpose.  Anne Marie Minnick's costumes rely on hate symbols to instill fear in the audience, but don't seem to do much else.  Jason Gorgen's intense sound design is full of interesting noises, but they often seem more artsy than appropriate.

In the end, CHAC's God's Country never packs as big of a punch as it should.  There are just too many ideas present, and simplification is needed.  Flashy tricks prevent the story from being told, and the audience must work hard to make sense of misguided choices.  The company has so much on their plate that they have forgotten to live this history.  Style is important to theatre, but when you leave discussing the blocking rather than theme, something has gone terribly wrong.

God's Country runs at Capitol Hill Arts Center through February 19th. For tickets call (206) 388-0569, or visit www.capitolhillarts.com

Photo by Ken Holmes. Pictured: Adam Berns and Peter Dylan O'Conner.

    

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