On its most basic level, the Jaclyn Backhaus play, Men on Boats, which opened Friday evening in the Lab Theatre of the Clarence Brown, is a retelling of the 1869 exploratory journey made by John Wesley Powell and a crew of nine, down the Green River and Colorado River into the Grand Canyon. With details and incidents inspired by Powell’s own published journals, the play follows the ten through a journey of physical hardships, supply deprivations, rapids, waterfalls, and the expected clashes of personality. However, there is one twist to Backhaus’ play—the ten white men of the 19th century journey are portrayed by 21st century women and non-binary persons of different races.
While a natural reaction might be to confuse the play’s casting motives with contemporary gender bending or sexual politics, it becomes clear early on in the performance that such is not the case. The play takes itself quite seriously as a history lesson, although that is not necessarily the point, either. The point here, it seems, is the re-thinking of one’s perspective. Let’s not forget that theatre history until the 1660s was a history of cross-gender acting—admittedly, the majority of which had men and boys playing women’s roles—with audiences not only accepting the practice, but knowing no other. In the case of Men on Boats, by altering certain expectations of narrative, we are forced to examine the facts, customs, language, events, and yes, masculinity, with different eyes.
This impressive production of Men on Boats was directed by Ashlee Latimer, a 2016 UT Theatre alumna who has already had notable acclaim—two Tony Awards for co-producing The Inheritance and Once on This Island. In addition to imparting the production with a spirited energy and attitude, Latimer has skillfully scaled down the journey to match the altered narrative, forcing the audience to accept a host of theatrical conceits and sight gags—among them, toy snakes, feigned physicality, imaginary food, and cardboard boats—and 21st century language. Ultimately, though, these conceits work for the script—and the audience—with a wink-wink nod to comic relief without becoming parody to any great extent.
Kudos go to this production for its beautifully immersive visual environment created by Latimer’s creative team. Scenic designer Sophie Smrcka’s set of wooden dock and textural framing gives the ensemble room to work and move, but also maintains a degree of claustrophobia that unconsciously suggests their crammed together boat journey. Giving specific hints to the details and locations in the play are Lucas Swinehart’s magnificent kinetic projections that run the gamut from the static impressionism of rock walls to raging waterfalls. Lighting designer Kaylin Gess followed up with a palette of canyon colors and support for the action scenes. Kaelyn Williams costumes are a delightful hybrid mix of masculine and feminine lines and textures, with an appropriately muted color palette in the rough fabrics. Sound designer Allison Bucher brought an interesting selection of period-suggesting music, with encompassing ambient noises setting a sonic floor to the action.
As one might expect, completing the depiction of Powell and his crew with actors gives a whole new meaning to the word “ensemble.” Jasmine R. Handy took on the demanding role of John Wesley Powell, complete with an adjustment to reflect that Powell had lost his right arm in the Civil War. Powell’s antagonist and irritant, William Dunn, was Allison Hahn. Powell supporter and Civil War veteran John Sumner (Sidney Scarlett) was looking forward to heading to the Yukon. Sarah Wahrmund and Abigail McCarter play the unfortunate O.G. Howland and his brother Seneca Howland respectively, but double as Ute chief Tsauwiat and his wife in a pointedly hilarious encounter. The role of English adventurer, Frank Goodman, was given a marvelous flair by Catherine Blevins. Others in Powell’s crew were Bradley (Cameron Skillen), Powell’s brother Old Shady (Madison M. Mansouri), Hall (Ella Trisler), and Hawkins (Sarah Hazlehurst).
Men on Boats continues in the Lab Theatre space of the Clarence Brown Theatre through April 2: Tuesdays – Saturdays at 7:30 PM; Sundays at 2:00 PM.
I saw Men on Boats Friday evening and was so impressed by the cast. It was a fun way to brush up on a little history. I laughed out loud at the scene with the Ute Chief and his wife. My favorites were Sidney Scarlett as Sumner and Sarah Hazlehurst (not Hazelnut!) as Hawkins. I hope to have a chance to see it again before it closes.
Thank you for the name correction.