REVIEW: ‘Thanksgiving Play’ explores history through a modern, broken lens
Photo: The Thanksgiving Play, written by Larissa FastHorse, stars, from left, D’Arcy Carden, Chris Sullivan, Katie Finneran and Scott Foley. Photo courtesy of Joan Marcus / Provided by Polk & Co. with permission.
NEW YORK — Larissa FastHorse’s The Thanksgiving Play, now playing an extended run at the Helen Hayes Theater on Broadway, is a thoughtful, engaging and hilarious new play that interrogates history and who in the present day gets to tell historical tales.
Over the course of 90 minutes, FastHorse (Sicangu Lakota Nation) has four actors develop an elementary school play focused on the topic of Thanksgiving. There’s Logan (Katie Finneran), a local drama teacher and director who has won a grant to bring this topic to the stage. There’s Jaxton (Scott Foley), Logan’s personal and professional partner who believes himself to be a serious “actor,” but he struggles to land any memorable roles. D’Arcy Carden is Alicia, a professional actor who is the newcomer in the group. Finally, Chris Sullivan is Caden, a fellow teacher who has penned a script that attempts to tell the historical tale of the first supposed Thanksgiving.
What could wrong, right?
FastHorse hilariously sends up the many ways that these four theatrical interpreters mess up the historical story of Thanksgiving. They are well-meaning liberals (conservatives might call them woke), especially Logan and Jaxton who offer their thoughts on everything from veganism to present-day politics. As they progress through a prolonged rehearsal, which utilizes improvisational techniques to develop the play’s script, they slowly but surely come to the realization that their goals are misguided. They are trying to tell an admittedly complicated story without offending anyone, but they have no authentic voices in the room and seemingly no means of breaking from their privilege and arriving at the truth. And when they do attempt to face the reality of how Native Americans have been treated throughout history, their play becomes plagued with violence, worrying Logan that they are going off the rails (they are!) and will never be able to present this to youngsters and their scrutinizing parents.
Interspersed with these rehearsals is a video montage of schoolchildren singing songs and reciting passages to better learn about Thanksgiving and Native American history. Apparently these testimonials are pulled from actual curricular decisions and educational resources, which makes their hilarity simultaneously frightening.
And that’s the skill and genius of The Thanksgiving Play, which is presented on Broadway by Second Stage Theater. FastHorse’s words are definitely meant to earn laughs — and they do, as was evident at a recent performance — but they are also meant to call attention to the erasure of history, the misinterpretation of history and the clash of history with present-day political views, both liberal and conservative. One leaves this 90-minute play less with a knowledge of how the first Thanksgiving played out, and more with the knowledge of how the telling of stories can be corrupted and coopted. So much of society either disregards Native American history or attempts to define it, exploit it and recast it as something else altogether.
Also, FastHorse, who should have been nominated for a Tony Award this year, has built a play that feels very much of the moment and wholly original. There’s a debate in this country about history and how to teach it, with board of education meetings becoming battlegrounds for the culture wars of the 21st century. There’s also the continued push for acceptance, respect and authenticity when addressing Native American history — an effort encompassing everything from sports mascots to land acknowledgments. There are also conversations about white privilege, anti-racism, wokeness, cancel culture and the #MeToo movement. There are elected leaders who have peddled conspiracy theories and been blatantly prejudiced toward many communities, and there have been movements and protests calling for change. The Thanksgiving Play doesn’t try to solve all of these issues; instead, FastHorse places four theatrical interpreters in a solitary room and sees what they come up with when telling a difficult story. What transpires is revelatory and revealing, while at the same time gut-bustlingly funny and witty. The Thanksgiving Play, more than most offerings on Broadway, holds up a mirror to the audience and asks them to consider the story attempting to be told, even though it’s muddled with the trappings of today’s politics and society.
The wonderful show is expertly directed by Rachel Chavkin and brought to life by a dedicated cast. Finneran, in particular, is pitch-perfect as Logan, someone grasping for truth and authenticity, but ultimately having those goals slip through her fingers. Carden is also a skilled actor, making her Broadway debut as Alicia, and her comedic timing is second to none. Foley and Sullivan round out the cast, offering portraits of characters getting off track and heading down some unfortunate avenues.
FastHorse, a MacArthur Fellow, is one of the most important writers producing work right now. Her play feels steeped in historical interpretation, but also pulled from the headlines and the conversations occurring today in academia and society. Rather than hit the audience over the head with her interpretations of these obstacles, she decides to, simply, stage a play. Who knew that staging a play could be so difficult?
By John Soltes / Publisher / John@HollywoodSoapbox.com
The Thanksgiving Play, written by Larissa FastHorse and directed by Rachel Chavkin, stars D’Arcy Carden, Katie Finneran, Scott Foley and Chris Sullivan. Running time: 90 minutes. The extended engagement runs until June 11 at the Helen Hayes Theater on Broadway. Produced by Second Stage Theater. Click here for more information and tickets.
