Stuff Happens: A well-tamed beast of a political drama

David Hare’s Stuff Happens is the dense chronicle of America’s post 9-11 decision to invade Iraq.  Running concurrent with the US elections, this Vancouver Firehall Arts Centre production offers a well-timed and potent examination of the American identity during Bush’s hawkish and flawed presidency. Stuff Happens is a three-hour beast of a play that includes testimony (some verbatim, some imagined) from the major political players of this era.  

Hare is a master playwright and his genius in this play lies in the structure as he creates a coherent narrative and comprehensive chain of events out of the post 9-11 chaos.  In the hands of less skilled actors, I could imagine this play floundering under the weight and complexity of the text.  However, the experience and skill of this cast is more than up to the challenge and they are able –in large – to bring the political scene to life in ways that are both personal and accessible.   

The performances are solid. Kevin Loring is probably the greenest of the bunch although he brings passion and skill to his performance as the Palestinian Academic.  And it’s hard not to seem a little green when surrounded by heavyweights such as William Taylor (Colin Powell) and David Adams (Paul Wolfowitz), whose vocal skills and presence more than match the giants they play.  Glen Cairns as George Bush is a charismatic blend of aggressive, naive and pious while Michael Grant Elliot’s sympathetic performance as the hapless and devoted Tony Blair reveals the hazards of being an American ally during this time.  The only major flaw in the performances is the bizarre execution of the dialect for the French speakers, which is butchered and overdone almost across the board (Kevin McNulty excepted).  

Condoleeza Rice (Catherine Haggquist) and Dick Cheney (Kevin McNulty) are brilliantly underwritten in the script.  Their conspicuous silence is a potent reflection of their quiet public presence. Although both (especially Cheney) are powerful architects in the Bush administration, they operate behind the scenes and reveal little of themselves to the media.  Cheney’s silence tellingly breaks when he advises Bush to abandon Britain and invade Iraq without a second UN resolution.  This disastrous betrayal of Tony Blair is portrayed bitingly and perfectly by Kevin McNulty.  Haggquist and McNulty, despite relatively few words, capture the essence of these reclusive and mysterious Bush operatives.
Although the play is an ensemble piece, the narrative burden often falls to Colin Powell.  Perhaps Hare uses Powell because he is the most sympathetic member of the administration, representing a sort of “every man” perspective.  Taylor’s deeply felt performance reveals his struggle as he is caught between his conscience and his leader. 

Hare’s inclusion of global players highlights the complexities of issues that impact on the world stage.  While Hare focuses on the French and British perspectives he also includes the opinions of a Palestinian academic, an Iraqi exile, Kofi Annan and Hans Blix, to name a few.  Because the cast is talented, none of these smaller parts is wasted; the inclusion of these characters illuminates world opinion and keeps the action moving.

Donna Spencer’s direction is clean, efficient and fast-paced.  She uses Craig Alfredson’s set design to its fullest; moving the action crisply from one area to the next with maximum efficiency.  Rolling chairs and a table instantly create boardrooms and offices.  When the audience first enters the space, three hanging projection screens (designed by Alfredson, programmed by James Foy) revolve through television news coverage.  Throughout the course of the play, the projections carry news flashes as well as images of woodlands, British streets, the White House and so on to quickly evoke a new landscape and move us around the globe.  Rebekah Johnson’s lighting design is key in directing our focus.  In fact, all the production elements work together impeccably to keep the action moving and to help clarify the story.   

The Firehall’s production is sharply executed, movingly performed and highly relevant.  The show’s herculean effort deserves a far greater audience than it had when I attended, and I am saddened that it may not get the praise that it deserves.  The houses may be quiet because Stuff Happens is a challenging play, one that requires undivided attention and a willingness to revisit uncomfortable events.  However, at a time when America is moving with relief into an era of change, she and her allies must never forget the damage done by an arrogant administration.  The play closes on November 8th, and there’s still time to catch it while W. is in office.  

Stuff Happens by David Hare, directed by Donna Spencer, running at the Firehall Arts Centre in Vancouver until 8 November. For more information look here.