Review: LINCOLNESQUE at Keegan Theatre

In the DC theatre scene, shows tend to go one of two ways: either they seek to be a reprieve from politics, and avoid them as much as possible, or they embrace political surroundings. The Keegan Theatre's staging of "Lincolnesque" falls decidedly in the latter category; the program even notes the show's relevance to the upcoming midterm elections. The script appears to have been slightly amended since its 2009 premiere, given the passing references to current political events and figures, though most of the jokes seem to stand - politics, while ever-changing, are always the same at the core. And it's hard to go wrong with soaring recitations of Lincoln's best speeches alongside well-placed sardonic remarks about politicians, especially when your audience is so heavily comprised of members of the Beltway crew.

But while "Lincolnesque" handles its politics well, it struggles on most other fronts. The premise of the show revolves around Leo (Michael Innocenti), a speechwriter for deadweight Congressman, Dave Carpenter, and his older brother, Francis (Brandon McCoy), whose own political career has been derailed by a psychotic break that resulted in institutionalization and delusions that he is former President Abraham Lincoln. Francis, released into Leo's care, wanders the city reciting Lincoln's speeches and befriends a homeless man he designates Lincoln-era Secretary of War, Edwin Stanton (played by Stan Shulman). When not fully immersed in his Lincoln identity, Francis spends his time urging his brother and others to "emancipate" themselves from their stressful lives; this philosophy carries over to his work as a building cleaner, where his advice wins him the favor of the building owner and powerful political operative, Harold Daly (also played by Shulman), who is overseeing the campaign to unseat Carpenter. Rounding out the story is Leo's boss, Carla (portrayed by Keegan's Artistic Director, Susan Marie Rhea), a tough "win-at-all-costs" type who has been brought in from the corporate world to help Carpenter's floundering bid for reelection.

"Lincolnesque" makes some compelling points about mental health in the world of politics - Leo refers to Francis' breakdown as "the warning no one wanted to hear," and the show consistently asks who is actually ill or insane. But the show never quite moves past the easier, light-hearted jokes made at Washington's expense, even though it feels like it's trying to hint at something deeper. And those light-hearted jokes that draw easy, almost subconscious laughs, aren't just applied to politics, but also to Francis' situation. The problem, though, is that once you think for a moment about what you're laughing at, it's a little uncomfortable; the laughter almost feels like it's at the expense of Francis and others like him, rather than laughter as a way of coping with a difficult situation. This discomfort is further felt in a scene involving the difficult relationship between Leo and Carla; while the audience laughed at the scene, it's not hard to imagine the reaction would have been radically different had their roles been reversed. None of the humor felt mean-spirited, but it did raise the question as to what, exactly, we were laughing at.

The show also takes a distinct tonal shift between acts, though it feels less deliberate and more like a disconnect between the two segments. Act II has a more serious tone even before its descent from the climax. And while I was relieved to no longer feel the discomfort the earlier humor had wrought, it brought on its own type of discomfort - not a sense of foreboding that maybe would help prepare the audience for the final twist, but just a nagging sense that things are bleak. As "Lincolnesque" draws to a close, it feels like the show is aiming to make a broader point, but that point is almost lost in the effort.

This is all a shame, because I really wanted to like "Lincolnesque." As a DC politico myself, I appreciate the shows that lean into political themes, and I'm generally a fan of The Keegan Theatre's productions. Furthermore, I'm lucky enough to have seen work by many members of the cast and creative team, and have enjoyed their previous projects. The cast is comprised of strong actors who all deliver great performances despite my issues with the material, and Matthew Keenan's set design (as usual) is simple and brilliant. But "Lincolnesque," though presented well, still never quite reaches the heights of its aspirations.

Keegan Theatre's production of "Lincolnesque" plays through October 14th. The performance run time is 2 hours and 20 minutes, with one 15-minute intermission.

Photograph by Cameron Whitman, featuring Brandon McCoy.

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