Kathryn Tkel, Mitchell Hébert and Josh Sticklin in the world-premiere of “The Guard,” by Jessica Dickey. Photo by Scott Suchman.
Anyone who has stood mesmerized by a painting or sculpture, wondering how such beauty came into the world (or even how one puts a price on it), will appreciate The Guard.
The play by Jessica Dickey, also author of The Amish Project, is part of the fall Women’s Voices Theater Festival in greater DC. It is enjoying its world premiere at Ford’s Theatre, which also commissioned the work.
Under the lively direction of Sharon Ott, the actors do indeed perform commendably—each of them in two very distinct roles.
Inspired by an actual museum visit and one of Rembrandt’s most-famous paintings, “Aristotle Contemplating the Bust of Homer,” Dickey has penned a fantasy comedic-drama in which the impulse to touch a painting overwhelms three individuals. One is a young artist/copier and two are guards, one a seasoned one and one a newbie.
I came with high expectations for Dickey’s play, which received the National Theatre Conference’s 2015 Barrie and Bernice Stavis Award. This award celebrates outstanding emerging playwrights.
Maybe those expectations undid me a little, because I found The Guard disappointing. Its premise is certainly intriguing. Who hasn’t wondered what’s behind the often-austere visage of museum guards, who seem poised to pounce if you even look like you might even be contemplating touching the art? And who hasn’t, in spite of their forbidding countenances, thought of doing just that?
But the play is also a little heavy-handed, telling us too often and too unsubtly what its theme is, the immortality of art versus the impermanence (and yet sacredness) of life and love. The guard explains to the copier—who presumably has studied art—the elements of Rembrandt’s great painting.
There is also a disjointed quality between the play’s four scenes, the first two of which are set in a contemporary locale (a big city with world-class art) and the other two are located in the past—the times of Rembrandt and Homer, respectively.
On the other hand, as with any interesting play, audiences will probably find plenty to discuss after. The audience of September 30 laughed and gasped and greeted the playwright—who was among them—and actors with vigorous applause.
Under the lively direction of Sharon Ott, the actors do indeed perform commendably—each of them in two very distinct roles.
If there is a “lead” actor, it is Mitchell Hebert, who plays with conviction both the supervisor guard, Henry, as well as Rembrandt in flashback. The playwright’s language for the painter doesn’t fit the era, but his struggles between his devotion to his art and the human needs of his family come clear in Hebert’s hands.
Even more moving is Henry’s conflict between his love for his dying partner and his job—which has become an escape as well.
Teri Getman wins laughs as the potty-mouth guard, Jonny, but is also Martin, devoted nurse of Simon, Henry’s partner, with only one sexual reference.
As Simon, Craig Wallace is wise-cracking, despite his advanced cancer. But he is downright sarcastic as Homer in flashback, with a sonorous speaking voice that suggests a familiarity with Shakespeare.
Josh Sticklin, as Dodger, the new museum guard, is the catalyst for touching the painting that takes us back in time and teaches Henry wisdom. He is charming and “seductive,” and also brings humanity to Rembrandt as his son, Titus.
As the sole woman in the cast, Kathryn Tkel plays both Madeline, the copier, and Henny, Rembrandt’s maid and later long-time mistress. She brings hesitation because of a broken heart to the former, and warmth to the latter.
The technical side of the production, under the stage management of Brandon Prendergast, enhances its effectiveness. In particular, James Kronzer’s rotating set design is breathtaking.
Laree Lentz is costume designer—working in three different time periods—and Rui Rita’s lighting design is evocative.
Ford’s Theatre is offering special performances and events in conjunction with the production, including an audio-described performance on October 13 at 7:30 p.m. and a captioned performance for October 17 at 2 p.m.
There will be a talkback with the playwright and the theater’s director of artistic programming after the 7:30 p.m. performance of October 8.
Advisory: 16 and up. Vulgar language, sexual references.
Running Time: 90 minutes with no intermission.
The Guard is playing through October 18, 2015 at Ford’s Theatre, 511 10th Street, N.W., Washington, DC 20004. For information and tickets, call 800-982-2787 or click here.
