A selective guide to arts commentaries in print and websites elsewhere.
Introduction to Broad Street Review, plus biographies and contact points for our editors and contributors.
See a list of coming appearances by BSR's writers.
EgoPo’s ‘Jesse James’BY: Steve Cohen 10.07.2012
From dime novels, folk songs and contemporary newspaper stories about Jesse James and his gang, EgoPo has ingeniously cobbled together the sort of vaudeville show that would have pandered to the bank robber’s devotees after his murder in 1882.
The Assassination of Jesse James. Directed by Brenna Geffers. EgoPo Classic Theater production through October 28, 2012 at Plays & Players Theater, 1714 Delancey Pl., third floor (not wheelchair accessible). (267) 273-1414 or www.egopo.org.
Robin Hood he wasn’tSTEVE COHEN
American theater in the 19th Century embraced many facets, among them Shakespeare, minstrelsy, vaudeville, melodrama and Wild West shows. Philadelphia and New York saw the classics interpreted by Edwin Forrest and Edwin Booth, but the hinterlands got more modest diversions.
EgoPo’s The Assassination of Jesse James is based on an itinerant entertainment about the notorious bank robber that played in the 1880s, mostly in the humble South and Midwest establishments, including saloons. Director Brenna Geffers built this show from some of those scripts as well as dime novels, folk songs and contemporary newspaper stories about James and his gang.
James became a folk legend during the 1870s and even more so after he was shot in the back by Robert Ford in 1882 at the age of 34. His legacy was romanticized in songs, novels and plays like this one. He was depicted as a latter-day Robin Hood, standing up against corporations in defense of the small farmer (although there’s no evidence that his gang shared its loot with anyone).
Hatred of Republicans
What we see is a melodrama from the viewpoint of James sympathizers, meant to entice audiences partial to his cause. James is shown as intelligent, fearless and generous. A song lyric contends, “He stole from the rich and he gave to the poor;/ He’d a hand and a heart and a brain.”
EgoPo’s production should fascinate and entertain even a novice, but familiarity with James’s story will enhance your enjoyment of the show. Nineteenth-Century audiences, of course, were intimately aware of the details and they had strong emotional involvement. Much of this play’s appeal today comes from observing how its words and actions pander to those sentiments.
James came from a region of Missouri known as “Little Dixie.” His county had more slaveholders than any other part of that border state. During the Civil War, a 16-year-old Jesse James fought as a guerilla warrior against Union troops. After the war, the federal and state governments freed Missouri’s slaves and excluded former Confederates from voting, serving on juries or preaching from church pulpits. This measure embittered many Missourians against the Republican presidency of Ulysses Grant, big business and banks.
Ed Sullivan’s predecessor
After the war, James and his gang robbed banks, stagecoaches and trains and murdered people. James was championed as a hero by the editor of the Kansas City Times, portrayed in this play as a former Confederate cavalryman. He published letters from James denouncing Republicans and their policies (e.g., “Grant robs from the poor and gives to the rich”).
The Assassination of Jesse James is the opener in what EgoPo calls a Vaudeville Festival. It combines drama with music, but be forewarned that this vaudeville bears little resemblance to what Gene Kelly and Donald O’Connor portrayed in Singin’ in the Rain, nor to the acts introduced on TV by Ed Sullivan. It’s more like a predecessor.
The setting (by Doug Greene) replicates one of the dime museums popular at that time, displaying guns, paintings, trophies and an attractive but anachronistic early-20th Century Victrola. Sawdust covers the floor, a bar serves drinks and a sign advises, “Bang yer boots here.” Costumes (by Natalia de la Torre) are colorfully detailed, with a dazzling variety of frontier hats.
Director Geffers uniquely cast this play entirely with women. They inhabit their men’s parts without any mocking tone. It’s an attempt to break out of sexual stereotypes by showing women as adventurers, unconcerned about their bodies.
Melanie Julian (who performed Mrs. Frank last season in EgoPo’s The Diary of Anne Frank) plays Jesse James with a striking, sardonic self-confidence. Amanda Schoonover compellingly took two contrasting roles, as Jesse’s wife and also as a doctor who infiltrates the gang, changing costumes and personalities almost with the blink of an eye.
Kate Brennan was excellent as a Charles Ford who was torn between loyalties to his leader and to his kid brother, the assassin Robert Ford. Colleen Hughes was striking as that trembling, callow youth, and Maria Konstantinidis displayed a beautiful voice as a gang member as well as multiple victims.
Respond to this Article