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Usher Nonsense Vol. 2, No. 8
DIRTY TRICKS - By John Jeter, Directed by Margaret Whitton
With Judith Ivey
Sets – Neil Patel (Beard of Avon, Between Us, Long Christmas Ride Home), Lights – Stephen
Strawbridge, Costumes – Joseph G. Aulisi
at the Public Theatre through November 7
It's difficult – the one-person show. It's difficult on the performer and on the viewers. You really
have to have just the right balance. In this show it is achieved, albeit delicately. It's not that the
writing is so terrific – but the directing is.
I've seen Judith Ivey before in a solo piece (Women on Fire) and in that piece she was left to her
own devices. When she didn't know what to do she had a little grimace that she pulled. She did it
over and over, so it wasn't part of the 8 or so characters – it was just her. In this piece, we see that
grimace only once. I think it's because this director was able to help Ms. Ivey keep on track and
focused.
Martha Mitchell, as some of you may remember, was married to John Mitchell, Nixon's Attorney
General. In this play she is preparing for her interview with Mike Wallace, scheduled to take place
following Nixon's resignation. The tired gimmick of a tape recorder is used, but we forget about it
after awhile. For one thing this woman talks on the phone A LOT, sometimes in the mode of "drink
and dial" but always with flair. It was the days of rotary dial and princess phones and Martha kept
those little babies warm with constant use. There are also recreated TV interviews that manage to
recreated the black and white ambiance of the 1970's.
The play falls apart a little as we are given the history of her kidnapping and detention by Nixon's
thugs. She shatters and falls fast, and it is difficult to keep up with the flying facts. And at the end
there is an out of context lecture by Martha on the perils of untrustworthy governments combined
with uninterested citizens. It is the first time she talks directly to us, and it feels off balance.
Still, for a first play by an art director and set designer, Jeter does OK. At the close of the piece
Martha is given a bow. Pictures of the real Martha displayed on the rear wall of the set, and she
looks like a whole human being instead of an icon.