Kathleen Turner shines as Molly Ivins in 'Red Hot Patriot' at Arena Stage
The Texas-born syndicated newspaper columnist, who died at 62 from breast cancer in 2007, left behind an oil-rich legacy that has been drilled in generally effective fashion to create a theatrical vehicle called "Red Hot Patriot: The Kick-Ass Wit of Molly Ivins." The show, starring the ever-impressive Kathleen Turner, has settled into Arena Stage for a long run neatly timed for our over-heated election season. Chances are, the play will preach more to the converted than the Rush Limbaugh-inclined; it sure could fire up the base. Mostly using Ivins' own words (some of the best material comes from a couple pages in the preface to one of her first books), "Red Hot Patriot" was written by twin sisters and journalists Margaret Engel and Allison Engel. They capture the essence of Ivins, who had ... 
Along the way, Ivins battled personal demons, especially the bottle ("Alcohol may lead nowhere, but it sure is the scenic route"). And she never came to terms with her tough father, known in her family as "The General." But Ivins firmly maintained her faith in what she considered the good fight, and she also held onto her ability to laugh each step of the way -- a great combination. "Red Hot Patriot" offers a welcome opportunity to be reminded of the woman's spirit, and why so many folks miss her. Turner created the title role in the 2010 premiere production by the Philadelphia Theatre Company, directed by David Esbjornson, and she seems to relish this reprise at Arena Stage. She's reunited here with Esbjornson, who keeps things flowing smoothly. Turner's raspy, basso profondo voice is a few shades darker and harder than Ivins', and the accent misses the lilt that sweetened Ivins' Texan drawl. But the seasoned actress inhabits the role confidently and persuasively throughout the play's 75-minute running time. She truly owns the stage. The set, designed by John Arnone, holds a vintage desk and an AP telex, with more newsroom furniture piled up in the background, like cluttered memories. Projected photos occasionally provide faces or scenes to go with the anecdotes that flow at a steady clip. The telex, which comes to life periodically to spur some of those anecdotes, seems too dated a device. And having a copy boy (the silent part is played by Nicholas Yenson) pop up to deliver print-outs to Turner becomes a tiresome gimmick. There are a few other questionable bits. The focus on Ivins' relationship with her father as a structuring device for the play doesn't deliver enough dramatic weight. Other subjects get raised tantalizingly, only to be swept aside by something else before any substantive words can be said. But any disappointments can be easily forgotten thanks to the still-potent charge of the words and the dynamic performance by Turner, who has a disarming way of drawing the audience into the proceedings, just as Ivins could do. The work couldn't be more timely. No matter which side of the political aisle you stand on, it would be hard to disagree with what Ivins said years before our current climate: "Politics today stinks ... These are some bad, ugly and angry times, and I am so freaked out. Hate has stolen the conversation." The rants and reflections, not to mention all the wicked wit in between, sound fresher than ever, and they keep this "Red Hot Patriot" spinning. No, make that kicking ass. Performances continue through Oct. 28. PHOTOS BY MARK GAVIN
Ivins worked for several publications and had her share of run-ins with most of them ("You know editors: They’re mice training to be rats"). She came to wider attention with a recurring gig on "60 Minutes," but never entirely fit in there.
Comments
Where will the next production of Red Hot Patriots be performed after the Arena Stage?
Good question. If I hear anything, I will post it. TS
Posted by: Bonnie McCluskey | September 11, 2012 3:20 PM