Theater Review by Ron Fassler . . .
Starring Holland Taylor and Ana Villafañe, N/A is a new play by first-timer Mario Correa that is having its world premiere at the Mitzi Newhouse Theatre at Lincoln Center. Correa, self-described as “a Congressional aide turned lobbyist turned writer and commentator,” is writing about something he knows well: the inner workings of Congress, particularly with regard to the rivalry between Nancy Pelosi and Alexandria Ocasio-Cortez, better known as AOC. When first elected, AOC was twenty-eight-years-old and defeated an entrenched Democrat and good friend and colleague to the first female Speaker of the House, as well as being high up in the Congressional leadership. He was supposed to breeze to victory in his primary and instead lost to a total newcomer with no experience and little money spent on her campaign. AOC went on to win the general election and thus begins, for the play’s purposes, the areas of conflict a young progressive has with the highest ranking member of Congress, once a liberal with strong convictions who, over time, has learned to play the compromise game perhaps a bit too well.
Though never referred to as Nancy and Alexandria, check out the title of the play: N/A. There’s no attempt to conceal their real-life identities and its much to Correa’s credit that he is able to create believable dialogue between the two that is, one would assume, completely made up. The entire play is set in a couple of offices from the best one available—the one designated for the Speaker of the House—and the almost-closet like one that AOC is supposed to occupy. All of that is left to the audience’s imagination, as the minimal sets are mere suggestions, eschewing realism for symbolism. I mean, would Nancy Pelosi really have an all-Lucite office of desk and chairs? But this production, with set design by Myung Hee Cho is decidedly done on the cheap. Also responsible for the costumes, Hee Cho puts Taylor in only one outfit (perhaps a manifestation of there being little time to change due to it being a two-character play), though Villafañe manages a quick change more than once. There are projections credited to Possible Lisa Renkel that help keep things from being too static and the lighting by Mextly Couzin and sound by Sun Hee Kil are spot on.
A lightness in humor carries the play, even with more than a few difficult subject matters touched upon, such as the unchecked record of the Federal agency ICE (U.S. Immigration and Customs Enforcement), health care reform, and even AOC’s admission to having been raped, something she once shared on social media. Correa manages to get his points across on both sides of these generationally different Democrats and his ability to evenly articulate their positions keep things fresh and lively. The only problem is that these important issues are only dealt lip service in the sense that not one of them forms the crux of what in other plays would be the central action with concern to any substantial dilemma. Instead we are treated to a series of discussions, not one of which is make or break, do or die, and never develop into tension-filled crisis. At best, the conversations are breezy and entertaining, which could be all Correa is going for here. It feels a little like wish fulfillment on the part of the playwright and director Diane Paulus to keep the play a series of non-events that hopefully might add up to something in the minds of the audience. I think on that count, they’ve fallen a bit short of the mark.
Of course, the ever-dependable Holland Taylor makes a full meal out of playing Pelosi. I first saw her on the Broadway stage fifty-two years ago in Simon Gray’s Butley opposite Alan Bates, so to say she’s been at this awhile is an understatement. Polished and professional, she lands every joke and her laser-like intelligence fits the role to a T. As her opposition, not only does Ana Villafañe bear a striking resemblance to AOC, but she embodies her physically and emotionally with finesse. You could watch these two go at it all day and, in the taut 80-minute running time, there’s plenty of power on display.
“Know your friends. Know your enemies. Know the difference,” Pelosi tells AOC. It’s an admonition, but it’s also a wake-up call for the young Congresswoman. Still at the start of what could be a long career, it’s going to be interesting to see where she goes. What Correa seems to imply is that the old saying of “the past is prologue” is something that might help when it comes to that possible day when AOC herself is in a leadership position. As the old proverb goes, “With great power comes great responsibility.” Pelosi’s had it, AOC craves it. The rest is future history.
N/A is playing at Lincoln Center’s Mitzi Newhouse Theatre, 150 W. 65th St., in a limited engagement until August 4th. For further information, please visit https://www.lct.org/shows/na-the-play/.
Photos by Daniel Rader.
