Ever wondered what it was like to navigate the treacherous waters of politics while juggling personal desires? Our American Queen, a play by the Brooklyn-based company the american vicarious, plunges us into the heart of the 1864 US election, a time of immense turmoil and pivotal decisions. The play explores themes of ambition, allegiance, and the intricate dance of power, all through the eyes of Kate Chase, the politically astute daughter of Abraham Lincoln's Secretary of the Treasury, Salmon P. Chase.
Kate, a social powerhouse, is a woman with a mission. She's not just managing her father's campaign to challenge Lincoln; she's also orchestrating alliances, perfecting optics, and even planning a lavish party to announce his candidacy. And, to add another layer of complexity, she's navigating a potential marriage designed to secure financial backing, all while harboring a deep connection with John Hay, Lincoln's secretary.
But here's where it gets controversial... While the play raises fascinating questions about female empowerment and the psychological impact of a distant father, it doesn't quite deliver the answers with the force it promises. Thomas Klingenstein's script occasionally gets bogged down in the details of the Civil War. (It's worth noting that Klingenstein, a major Republican donor, views the US as being in a 'cold civil war' with the 'woke regime'.)
Directed by Christopher McElroen, the play could benefit from more witty banter, especially given Kate's sharp intellect. Her political maneuvering is largely confined to the domestic sphere. We see her extracting information from Hay, strategizing with military commander George B. McClellan, and engaging with Salmon's love interest, Carlotta. One might wish to witness her political prowess in action, or at least at her own party.
Neal Wilkinson's set design, featuring a grand dining table, underscores the importance of appearances and the exclusion of those without a seat. The play uses a gilded frame with changing images that reflect the war. This technical element, however, sometimes distracts from the actors' face-to-face interactions. The large table also creates distance among the cast, except for Kate and Hay's flirtatious exchanges.
And this is the part most people miss... The most compelling aspect of the play is the relationship between Kate and Hay. Tom Victor's portrayal of Hay sensitively draws out Wallis Currie-Wood's steely Kate, igniting a bonfire of hidden pain. Darrell Brockis as Salmon is suitably impassive, though his accent is inconsistent. The play's biggest challenge is balancing Kate's fictional motivations with her real-world actions, leaving us pondering what truly drove this remarkable woman.
What do you think? Did the play successfully capture Kate Chase's essence, or did it fall short? Do you believe the play's focus on the domestic sphere hindered or enhanced its exploration of female power? Share your thoughts in the comments below!
