The absurdity of political correctness in 21st century America comes under the microscope in the world premiere of William Missouri Downs' "Forgiving John Lennon" at the Detroit Repertory Theatre, a very insightful script that will likely have tongues wagging on all sides of the political spectrum. And rightfully so.
Joseph (Benjamin J. Williams) and Katie (Leah Smith), two "progressive" professors at a liberal arts college, have their smug and comfortable world views shaken when a visiting Somali poet defies their expectations. A Muslim, Asma (Yolanda Jack) was brought to the school to help create a more "Islam-friendly" campus after a student disc jockey's lame and immature attempt at humor offended Muslims and non-Muslims alike. Deciding the school needed to embrace diversity – and in particular, Muslims – Joseph and Katie arranged to have Asma come to the campus to share her poetry and give a major address. But in between the two events, an eye-opening discussion at the professors' home reveals the TRUE purpose of Asma's visit – and the stunning incident that unfolds will likely change all their lives forever.
Downs' script, quite frankly, is a refreshing examination of the rampant political correctness that infects America today – and in particular, its college and university campuses. A professor himself at the University of Wyoming, Downs addresses many of the problems found on campuses today that stifle free speech over fear of offending special interest groups. But he does so without anger or malice; instead, he challenges the current orthodoxy through the curious and almost-always-smiling Asma, whose bluntness unnerves her hosts. As the play progresses, the professors' concerns become trivial when compared against, oh, forced female circumcision, for example. And when challenged to say something negative about Islam after she railed against Catholic doctrine, Joseph couldn't. "It's a religion of peace," he weakly mumbles as an excuse.
But more importantly, Asma offers insight into a train of thought many Americans refuse to consider – one many Americans might have problems with. But such philosophies are important if we're to understand both our Muslim friends and enemies. (To paraphrase a very insightful line of Asma's, it's the difference between an irrational fear of Muslims versus a rational fear.)
The story unfolds as one very long scene split in half by an intermission. There's also very little action – other than a ringing telephone, a visitor ringing a door bell and plenty of wine drinking by Joseph. As such, Downs' script offers a major challenge to any director who decides to tackle the show. Harry Wetzel keeps the story flowing and the dialogue engaging, although a little more movement – especially towards the end of the first act – might help keep audience members' attention from wandering. (Brief restlessness was observed at one point on opening night.)
Equally challenging are the roles played by the actors. To remain believable, the dialogue-heavy script must be very conversational and natural sounding, and here the cast performs quite well.
Williams' Joseph reminds you of every obnoxious and arrogant professor you've ever met or studied under. While proclaiming to be open minded, he's not: He supports speech codes now enforced in Canada and other countries across the world that stifle and sometimes criminalize free speech.
Smith's Katie is another perfect fit for the talented actress. Her British accent never falters, and you just KNOW there's more behind her reason for bringing Asma to town than she initially lets on. And her final moments in Joseph's arms are revealing!
But the show hangs on the believability of Jack's poet, and Jack couldn't be better. Her calm, matter-of-fact aura serves the character well, and her beautiful smile and wide eyes say more to the audience than plain dialogue ever could.
One last character inhabits the play, that of a delivery boy from a local Chinese carry out restaurant. It's a role many actors might envy: Samer Ajluni makes his one-and-only entrance late in the second act, delivers – at most – a few dozen lines, exits, goes home and collects a paycheck. It's a critical contribution to the plot, but to say any more would do readers a disservice.
All of the show's technical work suits the show just fine, particularly director Wetzel's set. And Burr Huntington's sound choices serve the show quite well – especially how he sets the tone at the start of the show.
As someone who finds the extent to which political correctness has hurt honest discourse here in America – and on campuses all across the country – I applaud Downs for skewering the subject in such an entertaining and intelligent matter. But he better look over his shoulders once his play takes root at theaters across the country: It won't be angry Muslims who will issue a fatwa against him, but pissed off professors and college administrators whose oxen he's gored so skillfully!
REVIEW:
'Forgiving John Lennon'
Detroit Repertory Theatre, 13103 Woodrow Wilson, Detroit. Thursday-Sunday through May 22; no performance Easter Sunday. $17-$20. 313-868-1347. http://www.detroitreptheatre.com
