It's a difficult task balancing humor, political skepticism and symbolism with an accessible script. Though the play "Accidental Death of an Anarchist" makes a valiant attempt to weave these concepts together, it takes on too much.
Performing through Dec. 4 at the Irish Classical Theatre, "Death" mixes slapstick comedy with political satire, but does not always find the proper balance between the two.
The Irish Classical Theatre Company makes any show a notable viewing experience, for better or for worse. With a theatre-in-the-round arrangement that fits no more than 115 people, the proximity to the actors creates enhanced involvement in the show. Actors frequently look audience members directly in the eye as if they are packaging the show as a gift for the viewer.
The intimacy did not stifle the show's progress. In the end, the play was rife with clever scripting and heavy symbolism about right-wing bureaucracy.
Although the "Anarchist" script is intelligent, it takes a well-trained liberal to spot it any time before the Fool, played by John Warren, exclaims the ironic anachronism, "Where do you think we are? America? It's not like we have the Patriot Act here!"
The storyline of the play concerns the suicide of an anarchist during his interrogation at a police station in Milan, Italy circa 1969. The Patriot Act is a little misplaced for the sake of theatrical humor.
Warren's character is a certifiably insane conman that continually pretends to be a man of different professions; his alter egos include a psychiatrist and a Supreme Court justice. Warren's voice and stage presence is impeccable, creating a very believable character.
The physical comedy among the players is a highlight, including the wrestling of bodies and egos between the Fool and the Inspector (Gerry Maher), who initially tries to bust the conman for impersonating a psychiatrist.
Regrettably, the first act feels like the antics of an antiquated cop sitcom, with redundant jokes and a reliance on slapstick humor and illogical trickery.
The second act, however, reveals the true purpose of the light comedy. Through continual jabs at the current U.S. government and its elected officials, it becomes apparent that there is more to the script than originally perceived.
Once audience members become collectively aware of the figurative quality in the storyline, the script shifts from simplistic to barely comprehensible while the brain tries to sift through allusions to modern-day political events.
"Accidental Death of an Anarchist" turns to more intelligent humor once the storyline develops past the Fool's repetitive manipulation of the rest of the cast.
Sophomore theater major Ben Weill enjoyed the symbolic nature of the script.
"I thought it was well-written and funny as hell," Weill said. "But it was funny in the way that you didn't realize how deep it was for an extra second."
"Accidental Death of an Anarchist" highlights the equally debatable topics of comedy and humor, where opinions vary from person to person, or from audience member to audience member, as the case may be.
It's fair to say that liberals were laughing harder than conservatives at the open criticism of George W. Bush and the events of his time as our president.
Photo: Courtesy of Matthew Messina, from the RMBERS' Instagram page
