Sunsets with Shakespeare's O Jerusalem testifies to the axiom that theater can happen anywhere. Sure, it is nice to have curtains, abundant lighting and elevated seating. But a bare stage and folding chairs in a barn loft will suffice--especially if the show is by A.R. Gurney, master of experimental plays that revel in the medium of live theater.

O Jerusalem tells a story of 9-11 as if the audience were residents of a distant future attending a historical re-enactment. The vigorous collaboration amongst the ensemble members underscore Gurney's theme that we are all in this together.

Tod Humphrey plays Hartwell--the Exxon executive tapped to serve as a diplomat in the Bush administration. He evolves from a materialistic, Yale playboy into a passionate (and sometimes frenzied) visionary. He is most effective early on. Later, he froths like a rapid dog, detracting from powerful and politically charged moments. In those painful--and thankfully few--moments, the play takes on all the subtlety of a Michael Moore production.

Tanya Canaday Burnham is the Greek chorus, directly addressing the audience to narrate the action and cut through scenes with the ruthlessness of an editor who wants to ensure the story isn't cluttered with non-essential "nice bits."

Exotic and enticing, Jane Zussman blurs the definition of terrorist, warning that the phrase is bandied about the way communist was during the Cold War. Playing everyone else are Mark Zussman and Terri Hanton, expertly slipping into different roles and sometimes being joined by the set crew.

Overall, O Jerusalem is a moving production that begs for a patriotism less facile than arrogant slogan chanting and self-indulgent consumerism. The play's optimistic ending triggers the more cynical to ask whether this futuristic play is science fiction or whether it is doomed to fantasy.


Recommended: Yes