In the lead-up to the pivotal 1864 U.S. presidential election, the narrative unfolds around Kate Chase, the daughter of Salmon P. Chase, who serves as the Secretary of the Treasury under President Abraham Lincoln. "Sometimes she understands things better than I do," Salmon remarks, highlighting Kate's remarkable political insight and her influential social standing.
Kate finds herself in a whirlwind of responsibilities, as she not only supports her father’s ambitious plan to challenge Lincoln for the presidency but also juggles the intricate dynamics of political alliances and public perception. She is tasked with organizing a grand event to launch his campaign, all while considering a strategic marriage that could provide the necessary financial backing, even though she harbors feelings for John Hay, Lincoln’s secretary.
This production by the Brooklyn-based company, the american vicarious (https://www.theamericanvicarious.org/), raises compelling discussions around themes of female empowerment, ambition, and the emotional toll of having a distant father. However, it often falls short in delivering these ideas with the depth they deserve.
The script, penned by Thomas Klingenstein, sometimes veers off into excessive exposition about the Civil War, making it feel heavy-handed at times. Klingenstein, known for his far-right political views and assertions about a "cold civil war" against a "woke regime" (https://www.theguardian.com/us-news/2024/oct/22/thomas-klingenstein-megadonor-pro-trump-pac), manages to keep the focus historical in this instance. Directed by Christopher McElroen, the production lacks the wit that might have lightened the dense dialogue, especially given Kate's sharp intellect. Her political maneuvering appears limited to interactions within the household. As she seeks insights from Hay, engages military leader George B. McClellan (played by Haydn Hoskins), and nudges her father’s romantic interest Carlotta (Christy Meyer), one can't help but wish to see her shrewdness displayed more openly—perhaps at her own social gathering. This sidelining of her character is likely intentional but nonetheless disappointing.
Neal Wilkinson’s set design—a lavish dining table prepared for the gathering—symbolizes the significance of appearances and the exclusion of those without a place at the table. Throughout the performance, images in a gilded frame change to reflect the ongoing war, providing a visual backdrop. However, there are moments when an actor awkwardly turns away from the audience, leading to a live feed of their back, which detracts from the intimacy of face-to-face interactions. The expansive table also creates a barrier to connection among the characters, although it does serve to enhance the flirtation between Kate and Hay.
The chemistry between Kate and Hay stands out as the most compelling aspect of the play, with both actors delivering strong performances. Tom Victor portrays Hay with a sensitivity that draws out Wallis Currie-Wood's portrayal of Kate, whose initial steely demeanor eventually reveals layers of suppressed emotion. Darrell Brockis plays Salmon with an appropriate level of stoicism, though his inconsistent accent can be distracting at times.
Ultimately, the central challenge of the play lies in reconciling Kate's fictional motivations with her historical actions, leaving the audience questioning what truly fueled the drive of this remarkable woman. It invites viewers to ponder: What were the real forces behind her ambition, and how do we interpret her legacy? What do you think? Let's discuss in the comments!
