Review: THE REVOLUTIONISTS at Nebraska Wesleyan University Theatre: Not as simple as it appears

Nebraska Wesleyan University Theatre has a history of mounting an impressive variety of plays and musicals. Currently, Lauren Gunderson’s revolutionary play about four women during the 1793 Reign of Terror in Paris, is a compelling production running in the Enid Miller Lab Theatre. Some would call this a comedy. Some would see it as a drama. I see it as a piece that transcends definition and looks at revolution through female eyes.

Entering the black box theatre I was immediately taken in by guest artist Austin R. Meuck’s set design which is emphasized by the moody lighting of another guest artist, Matt Benes. An elaborate chandelier lays crashed half way through the raised platform runway. To the left is a wall covered in monotone paintings which are used as startlingly dramatic props. To the right a red chaise lounge serves as a contrast to the rest of the chaotic set. Above hangs a light fixture made of papers arranged in a heart shape and used to project the image of a guillotine at appropriate timing.

Leigh Walter, formerly of Nebraska and now working in NYC as artistic leader, director, producer and manager, directs this capable cast of four actors through a complicated story heavy on dialogue and pacing back and forth. The result is an intense display of emotion and passion as the women fight for women’s rights during a turbulent period of history.

Cartney McGuigan plays the part of playwright/activist Olympe De Gouges. Her role is quite possibly the most complex of the four. As a writer she desires to use her words to make a difference in the revolution. She incorporates the stories the three other women bring to her. When she braves making a declaration of rights to a mob, she retreats when they boo, only to be told that a declaration is not a declaration if everyone agrees with it. Her need for approval and safety render her a slacktivist who stands on the sideline when her friends need her. But that will change.

McGuigan inserts high energy into her character, almost frenetically. By the second act, she has calmed somewhat. Her character deepens and she shows a strength not obvious before.

Inna Gomez portrays assassin Charlotte Corday. This historical figure lost her head for murdering a tyrant, Jean Paul Marat, with a steak knife as he took a medicinal bath. She boldly states that she killed one so thousands would live, attributing the September massacre to him. Gomez’s fierce approach to her character leaves no doubt that she is all in and she bravely faces death for her convictions.

Julia Cotton makes deposed queent Marie Antoinette into an amusing Valley Girl. Her comedic timing and movements are adorable. I found myself watching her most of the time waiting for the next "sigh" or innocently vain comment as she fiddles with her ribbons and desperately entreats De Gouges to repair her reputation.

Jamya Hogan, understudy for Haitian revolutionary Marianne Angelle, the only character who is a compilation of persons rather than an actual historic one, impressively takes on a demanding counterpoint to De Gouges. Her voice, softer and more reasonable, cautions the playwright and uses her influence to persuade her to no longer hide on the sidelines. 

Costume Designer Elizabeth Ennis and Hair and Makeup Designer Ella Seitner designed magnificent period costumes and wigs which become more than just garments and hair. They become part of the story. The three women bound for the guillotine strip down to white undergarments which testify to their innocence before a corrupt government. Marie Antoinette begs them not to cut her hair, and as her wig is pulled off, her persona changes.

This production on the surface appears quite simplistic. Not much movement. No set changes. No big wow moments. Yet, there is much below the surface. In an interesting sidebar as I waited for the performance to begin, faculty member Dr. Talea Bloch, D.M.A., told me she coached this cast in “vocal combat.” She is one of 24 in the world who is certified in vocal combat technique. There is even thought and technique applied to screaming. I learned something new even before the show began!

As a matter of fact, I learned a lot throughout this production. Just as writer Olympe De Gouges said, true art should also inform. “It might be fiction. But it’s not fake.”

There are two more performances, September 21 at 7:30 pm and September 22 at 2:00 pm. Tickets are available at 51jiyangshi.com/theatre-tickets or at the box office by calling 402-465-2384.

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