L-R: Damien Long and Pat Leo in A Walk in the Woods by Leo Blessing |
Square One Theatre Company is opening its 25th
anniversary season with a new production of the play A Walk in the Woods, by Leo Blessing. Directed by Square One Artistic Director, Tom Holehan, this play
combines comedy and drama to give an intelligent and compelling look at the
delicate art of arms negotiations between Russian and American diplomats.
A Walk in the Woods
is set on a park bench, in a forest on the outskirts of Geneva, where the two
negotiators can talk informally after hours at the negotiation table. As
envisioned by set designers Greg Fairbend and Robert Mastroni, and with
lighting by Clifford Fava, this pleasant little respite place is peaceful and
inviting.
This was the first play to be produced by the company in
1990 and its revival is still relevant today. The surprise twist to this
production is that actor Pat Leo, who played the American negotiator in the
1990 production, is back, this time cast as the older Russian diplomat, Andrey
Botvinnik. Making his Square One debut as the American negotiator, John
Honeyman, is Damien Long.
A Walk in the Woods
can be challenging for the actors chosen to fill the roles of the play’s
only 2 characters. With all the dialogue and action of the play resting on
their shoulders, Mr. Leo and Mr. Long prove themselves to be more than up to
the task. Their embodiment of the adversaries on both sides of the negotiating
table, each with a different history, level of experience, and negotiation
style, is superb and they both give finely nuanced performances that clue us in
to their distinct personalities and developing relationship.
Mr. Leo’s Botvinnik is far from the hard-lined Soviet that
we might expect. On one hand, he is a little world-wearier and a lot more
cynical when it comes to the negotiating game but on the other hand, he is also
personable, like an experienced old uncle who is willing to share stories, tell
jokes, and serve as a guide, from manipulating the press to navigating the political arena, to the
relatively inexperienced Mr. Honeyman. He is able to gain audience sympathy and
trust early on, with his simple request that he and Mr. Honeyman become friends.
Botvinnik’s negotiation bag-of-tricks includes dissembling, abruptly changing
the subject, feigning to forget things, telling jokes, and being charming.
Mr. Long’s Honeyman is a compelling contrast to the
easy-going, comfortably familiar Botvinnik. Where Mr. Leo gets all the funny
lines, Mr. Long delivers some of the play’s most spirited monologues. Honeyman,
while an advocate of facts, numbers, and data, embodies youthful passion and
idealistic virtue. He does not want to be friends; he wants to get down to the
business of saving the world. Nuclear disarmament is not a game to him, and his
frustration at the lack of reaching an agreement is palpable.
This important play is not only a compelling piece of
dramatic literature, it touches on issues of nuclear disarmament, arms
negotiation, and the political history and relationship between the United
States and Russia. It is also a piece about forming relationships, whether it
is a working relationship between adversaries or a genuine friendship that can
cross idealist divides. At the end of this play, heated words are spoken out of
disappointment and frustration but I like to believe that ultimately friendship
prevails.
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