Snoop's Theatre Thoughts

The Thanksgiving Play
by Larissa Fasthorse
Directed by Amelia Acosta Powell
Repertory Theatre of St. Louis, Studio
January 18, 2020

Ani Djirdjirian, Adam Flores, Jonathan Spivey, Shayna Blass Photo by Phillip Hamer Repertory Theatre of St. Louis

The Rep Studio’s newest production looks at a controversial subject from a satirical point of view. The Thanksgiving Play, by playwright Larissa Fasthorse, tackles an especially relevant issue in society with a somewhat novel approach–over-the-top, biting satire that is unquestioningly hilarious while at the same time tackling some uncomfortable truths. Although the characters can be seen to some degree as “easy targets”, that doesn’t change the relevance and outright bombastic hilarity of the piece, or the overall importance of its message.

To a degree, the characters here are funny because they are so familiar, and the type of obtuse, “trying-too-hard” white liberals portrayed here have been poked fun of in various media before. Still, there’s also a point to be made that these “types” are so funny because they do, to various degrees, represent reality. Also, from the point of view of a Native American playwright, we get to see even more how misguided many efforts of “cultural inclusion” turn out to be when you look at them closely enough, as well-meaning white artists try to “help” the cause, trying to avoid cultural appropriation and stereotype so much in one area that they don’t realize how much they reinforce these ideas in other ways. So here, we have self-important street performer and yoga enthusiast Jaxton (Adam Flores) and the ever-earnest and anxious director Logan (Shayna Blass), who are tasked with staging a culturally sensitive Thanksgiving themed play at an elementary school for Native American Month. Joining them are Caden (Jonathan Spivey), a history teacher and aspiring playwright who is hired to be their consultant on historical matters, and Los Angeles-based Alicia (Ani Djirdjian), who has been brought in to act in the show under the assumption that she’s Native American–an assumption reinforced by her series of specifically styled headshots that have been shopped around by her agent. What she turns out to be is vapid “Hollywood” type who, somewhat surprisingly, doesn’t pretend to be anything else and as a result, is envied by Jaxton and Logan because of her “simplicity”. So, these four work together to tell the traditional Thanksgiving story in a “sensitive” way and, predictably, things don’t go exactly as planned–and that’s an understatement. Their efforts start out relatively predictable and get more and more outrageous as the show goes on, managing to to provide loads of laughs along with some especially sharp and biting social commentary, along with some truly brutal reminders of the more unsavory aspects of history that have been glossed over in the “traditional” telling of the Thanksgiving story. Interspersed with the linear story are some out-of-time moments in which the four players enact some truly bizarre and sometimes horrifying representations of Thanksgiving presentations from various schools around the country. I’m not sure if these are taken from real life or not, but sadly, it wouldn’t surprise me if they are. In addition to its main message, the play also pokes fun at some other conventions, such as Hollywood, pretentious artists, and more.

The pacing here is ideal, as the story starts off slow-ish and then snowballs out of control, and the characters respond to the various conflicts in kind. The casting is excellent, as well, with Flores and Blass making a credible couple as both play off of each others’ quirks, augmenting them and spurring on the rest of the players in turn. Blass especially is strong as the over-earnest, increasingly insecure Logan, who is nervous about getting her play right but doesn’t quite know what “right” looks like. Djirdjian is also a treat as the vapid starlet who owns her vapidness, and Spivey also stands out in a strong performance as the closest thing to a “straight man” (in the comic sense) in this group, although he has his quirks as well. It’s the interplay between these four disparate characters and the way they play off of each other with their varying expressions of well-meaning but clueless determination that provides the bulk of the comedy here, and this company gets the tone just right.

Technically, the production values are simple but well-suited. The unit set, by Efren Delgadillo, Jr., is a detailed representation of an elementary school classroom. The costumes, by Lux Haac, represent the characters and their personalities, especially well. There’s also excellent lighting by Porche McGovern that especially highlights the “interlude” scenes, and Cricket S. Myers’s sound is proficient, as well.

Overall, this is one of those shows that’s likely to make audience members laugh their lungs out and then, when they’ve caught their breath, feel uncomfortable at the harshness of the reality being conveyed even by these broadly drawn, hilariously stereotypical characters. The reality that history has been written by those in power, at the expense of those not in power, is made clear in the midst of the hilarity, and the sharp satire works especially well in getting this message across. This is an ideal show for making one think, as well as laugh.

Shayna Blass, Adam Flores, Ani Djirdjirian, Jonathan Spivey Photo by Phillip Hamer Repertory Theatre of St. Louis

Repertory Theatre of St. Louis is presenting The Thanksgiving Play in its Studio Theatre until February 9, 2020

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