A wry satire on capitalism, The Low Road is a new comedy by Bruce Norris, the Pulitzer Prize-winning author of Clybourne Park. In striking contrast with the naturalism of his best-known works, this latest play finds Norris writing imaginatively across a broad canvas.
Historical fiction is what Norris dishes up at the Public Theater, where 17 actors portray more than 50 characters in a saga situated on the Eastern seaboard and unfolding mostly during the middle 1770s.
No less than Adam Smith, the influential Scottish economist and writer of that era, narrates the dubious adventures of Jim Trewitt, a poor foundling who grows up to be an amoral young American intent on making his fortune. In pursuing his aims, Jim nonchalantly cheats, lies, robs, enslaves, rapes, murders, and—worst of all—believes that the “invisible hand” of the free market system will enrich the world.
Or at least will enrich self-interested others like him.
A mordant, episodic cartoon that Norris has crafted in quasi-18th-century dialect (generously studded with modern profanity), The Low Road is peopled by characters of different classes who speak pro or con–or ignorantly–about capitalist economics and its effect upon their lives. At one point, the story unexpectedly jumps forward to 2018 for a visit to a Davos international economics forum where half a dozen wealthy bigwigs—including one of Jim’s descendants—gas away about global markets and deregulation until their session is invaded by protestors and the plot reverts to 1776. An out-of-the-blue epilogue involving visitors from a faraway galaxy ends this pointed tale on a bitter note.
As entertaining as it may be, the play would benefit from minor editing. Scenes in a religious colony and at a Tory dinner party become overlong. A subplot regarding a black courtesan makes scant impact. Although The Low Road hits a few sticky spots, it takes audiences on a mighty funny and lively ride.
The production looks dandy within the intimate, three-quarter thrust circumstances of the 272-seat Anspacher space. Designer David Korins’ background setting of weathered wood and sliding barn doors lends a proper colonial atmosphere. Ben Stanton’s pinpoint lighting provides mood. Neatly marshalling these visual essentials, as well as composer Mark Bennett’s sprightly fiddle-dee-dee music, director Michael Greif smartly guides an excellent company of actors, scrupulously dressed with nice period details by Emily Rebholz.
Chris Perfetti cunningly invests Jim with a boyish quality that for the most part ingenuously masks his duplicitous nature. Giving life to a patchily-written figure meant to balance Jim’s unscrupulous presence, Chukwudi Iwuji earnestly depicts a cultured African man who overcomes his slave status. Daniel Davis is perfectly plummy-voiced as Adam Smith, who drolly annotates the proceedings. Kevin Chamberlin and Harriet Harris expertly contribute their virtuoso talents to illuminate several individuals each. Richard Poe, Crystal A. Dickinson, and Danny Wolohan colorfully pop up now and again as numerous other folk.
The Low Road is not a journey that frivolous theatergoers probably will care to take. But the play and its top-notch production certainly deliver thoughtful amusement for people who enjoy some substance in their shows.
The Low Road opened March 7 at the Public Theater and closes April 8. Information and tickets: publictheater.org.
