Brings Empathy and Humanity to the Stage while Also Prompting Broader Questions
In a recent conversation about work, when I mentioned “clocking in,” one of my cousins responded, “I’d rather be poor and have my freedom than clock in and out to have money.” And hey, I absolutely get it. Adulting choices are not all easy. Different sacrifices for different people…I bring this up, dear reader, because The Old Globe’s current production of Fiasco Theater’s Bartleby, a commissioned world premiere adapted from Herman Melville’s “Bartleby, the Scrivener“, by Noah Brody and Paul L. Coffey, sprinkles in that work-money-capitalism-freedom dynamic.
The Lawyer (Andy Grotelueschen), who runs an office with two scriveners, Turkey (Matt Dallal) and Nippers (Devin E. Haqq), along with the young intern Ginger Snap (Myka Cue), has recently been named Master in Chancery, a prestigious charge with greater responsibility, prompting him to look for a third scrivener. In comes Bartleby (Michael Crane), a ninja scrivener, but very quiet and to himself. The flow starts off great until Bartleby is tasked with additional work, to which his response, “I would prefer not to,” shocks everyone in the office, prompting a broader question about what should or shouldn’t be done as an employee, along with other reflections and a tenant dynamic/situation that gets weird.
I remember seeing Fiasco’s adaptation of Into the Woods at The Globe over ten years ago and being blown away by the creativity and comedy. Seven years later, The Imaginary Invalid came to the round, and it was another great one. This company has its style and intention down, and it is clear where they want to go with the different work they pursue.
For Bartleby, the play is one-act, no intermission, directed in the round by Fiasco’s founding company memberEmily Young. Lawrence E. Moten III’s set includes a rotating platform that holds the law firm with a couple of desks, all very brown and gray, meshing into the feel of the story. Myka Cue starts off with the pre-curtain speech, which is usually recorded, and having it live starts the experience off on a great note. Andy Grotelueschen, who initially takes the lead, delivers comedy, sentiment, compassion, and doubt with deliberation and meaning.
Young’s direction is cohesive, with each actor interconnecting with the cast and the play, as well as with the audience and their reactions. There was also a moment for each actor on stage, which was truly enjoyable. Matt Dallal has a moment with hefty lines that go on for what seems a long time, but he did it with great pace and grace. Devin E. Haqq, as the grouchy Nippers, shows audiences how to establish boundaries and not question what should not be questioned. A nice reminder for the workplace. Haqq is also funny, bringing good rhythm and comedy to the scenes. Myka Cue, as the young intern Ginger Snap, conveyed the “matter-of-fact” attitude that is signature to youth, also landing the role’s freshness. Michael Crane as Bartleby, gasp… He had this stoic yet tender and fragile feeling. Going on and on with the same line, but having it be different each time. Chelsey Arce’s integrated movement throughout the house was pertinent and contributed to the play’s raw emotion that went hand in hand with Reza Behjat’s lighting, which contoured the fun and the hard felt.
Emily Rebholz’s costumes illustrate late-1800s garb with shirts, coats, suspenders, and cravats.
Fiasco Theater’s Bartleby brings humanity and empathy, and, as I mentioned at the beginning, raises questions about work/life balance and mental health.
A pertinent work for the current time.
Currently playing until March 22.
Amanda Salmons is the stage manager for this production, and Nicholas Lambros Smith is the stage management swing.
