MM Theater Blog

Where does one begin to describe the genius of Anna Deavere Smith, who conceived, wrote and performed Second Stage Theatre's production of Let me Down Easy, currently at Arena Stage's Kreeger Theatre? With little more than a change in jacket or accessories, Smith so convincingly embodies 20 people over the course of the play, that the stage feels crowded by the end of it!

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Of course she very cleverly leaves the props related to each person strewn around the stage, like a snake discarding its skin. What makes it even more amazing is that the people she portrays are not characters created from her imagination. They are real life people, in some cases very famous -- Lance Armstrong, Lauren Hutton, Joel Siegel, Eve Ensler, Ann Richards, and others. It takes immense talent to so successfully create such easily recognizable icons of American culture on stage before our very eyes! And she doesn't miss a beat -- she moves effortlessly into each new person, before we've even had a chance to read the sign on the wall telling us who it is.

It has been said that Anna Deavere Smith has developed a new kind of theater, with other similar works dating back to the early 1980's. Her work has been described as "a blend of theatrical art, social commentary, journalism, and intimate reverie." Whatever labels we may put on it, the bottom line is that she creates something truly magical onstage!

The road to Let Me Down Easy began in the late 1990's when she was invited to Yale University School of Medicine as a visiting professor to interview doctors and patients and create a performance for medical grand rounds (a lecture series for doctors). Over the last decade she expanded on that work by interviewing over 300 people on 3 continents, to create the version of Let Me Down Easy that is currently playing at Arena Stage.

So how does one woman create such a diverse set of people and make them feel so real? Her technique is to collect several hours of videotaped interviews for each person, study them, extract a few minutes that represent the essence of that interview, and then work with voice coaches to recreate every sound, every gesture, every nuance of the person's character. The theory is that if she recreates all the sounds and gestures, the spirit of the person will begin to emerge. It is as if she gets inside of the person and projects them outward to us. Now, technique aside, one question remains.

How does she do it?

The theme of this work is a dialogue about life, death, health, illness, pain, how we experience our bodies and our well being, and health care. On stage before us is a collection of athletes, doctors, patients, ministers, and even a Buddhist Monk. And there are also some unlikely voices -- activist Eve Ensler, choreographer Elisabeth Streb, and musicologist Susan Youens. Each one adds their unique thread to the tapestry, creating an interesting discourse. For example, Ms. Youens discusses the changes in Franz Schubert's music after he contracted syphilis and began to fear death.

There are many perspectives offered, many different attitudes. We may like some of it, and we may dislike some of it. The play is not meant to be likable, but to be thought-provoking.

Director Leonard Foglia works seamlessly with Ms. Smith to create this parade of characters before us. Riccardo Hernandez's set design is simple but very effective. A white sofa and coffee table sit on one side of the stage, while a white table and 3 chairs sit on the other. These are the different places where the characters eat their breakfast or drink their coffee, during the course of the interview that is being recreated on stage. The white furniture is like a blank canvas on which Mrs. Smith can paint her characters.

All of this is set against a backdrop of 5 mylar screens functioning as mirrors, which serve as a metaphor for Ms. Smith's style of reflecting back to us what she sees in people. At the same time, they seem to multiply one person into many people. And maybe we also get a glimpse of ourselves in what is being projected out to us. In the case of 2 of the patients, a camera records Ms. Smith as she talks, while it is rear-projected onto the central mylar screen, thus giving the impression that we are watching the taped interview. The wall behind the screens is blank, with simple lighting changes to match the changing moods of the piece. Patterns are projected onto the floor to give the impression of changes in carpet or venue.

This simple design allows the piece to be easily transported, as the Arena production is the first stop on a 5-city tour.

Similarly, Ann Hould-Ward's minimalistic costume design facilitates Ms. Smith's chameleon-like transformations. She wears black pants and a white man-tailored shirt, with no shoes. By donning a black and white striped jacket, she becomes Elizabeth Streb. A black sweater turns her into Lauren Hutton. A black jacket and red tie calls forth the Reverand Peter Gomes. A cowboy hat and a bottle of beer turn her into rodeo bull rider Brent Williams. And so on. She cleverly pulls out glasses or a wedding ring from the jacket pockets as needed for certain characters. And during the standing ovation at the end of the play, Ms. Smith gestures to all of the characters' remains as if she is thanking her fellow cast members -- a very nice touch!

Note that if you miss this production, you will have the opportunity to see the filmed version of it on PBS Great Performances, sometime during the 2011-2012 season.

MM Rating - **** 1/2