TOPDOG/UNDERDOG @ ION THEATRE

“Topdog/Underdog”: A “Powerful” Production

Words by Kristen Fogle

Ion Theatre is at it again; producing compelling, gritty work—this time with “Topdog/Underdog” rounding out the season, directed by Moxie Theatre Founding Member and Artistic Director Delicia Turner Sonnenberg and starring Laurence Brown and Mark Christopher Lawrence.

Suzan-Lori Parks' piece tackles a variety of issues—working, women, poverty, childhood, and gambling among them—which plays out in a one room boardinghouse. The drama features only two characters, African American brothers Booth and Lincoln (named as a cruel joke by their absent father). Lincoln is the older of the two, and strangely enough, has found himself portraying the sixteenth president in an arcade, where patrons can take turns shooting him. Though both are grown men, Booth remains, in a way, the precocious younger brother, and shows his juvenile nature by never working a steady job, boosting every item he has, and relying on money from his older brother, who is staying with him since his wife Cookie kicked him out. Booth’s goals are twofold: to obtain the love of a woman named Grace and to start dealing three card monte on the sidewalks, as Lincoln once did successfully. The play’s edginess (and touching moments) come from conversations the two share that run the gamut and reveal their curious love/hate relationship. It truly comes down to the final moments of the play to see who the top dog inevitably is, but anyone with even half a mind for history can already guess the grisly conclusion.

Parks’ work won the Pulitzer Prize for Drama in 2002 after a successful off-Broadway run in 2001 with Don Cheadle and Jeffrey Wright in the lead roles. “Topdog” also celebrated an extended run on Broadway at the Ambassador Theatre from April 7 - August 11, 2002, in which Cheadle was replaced by Mos Def.

During a Los Angeles run of the show, Variety remarked that “Topdog” was “an utterly mesmerizing evening of theater…” BackStage felt that “the issues are gripping…a must-see play.”

And here in San Diego (referring to the Ion produced show), there is still more praise: SDUN’s critic called the piece “intensely funny, frightening, and insightful.” Local critic Bill Eadie adds that San Diego has “…had a spate of fine performances lately in local theatres, and it is easy to add these two to the list.” San Diego Jewish World’s writer wields accolades most emphatically, calling “Topdog” “…riveting” and “a must see for serious theatergoers.”

I bring in the opinion of others simply because on the day I saw the show, I took great care to watch the faces around me, from beginning to end…and couldn’t get a single read as to what people thought of the performance. The audience did, in large majority, participate in a standing ovation, but, these days, the standing ‘o’ is about as common as an intermission restroom break. When I asked others who had seen the piece, however, (and after I read a few more reviews), the same word kept popping up: “Topdog” was by and large being referred to as “powerful”…but no one really knew why.

This is not to say that it’s not powerful, however. Laurence Brown (Booth) and Mark Christopher Lawrence (Lincoln) do well to cultivate characters that are polar opposites, but remain connected, despite trying instances and hefty insults. Ion’s stage is transformed (by set designer Brian Redfern) into a depressing cell (or shell) of a room that reflects a life (Booth’s) that is…empty. Despite the few possessions (presumably stolen), the deeply conflicted Booth’s prison of a space brings a quiet discomfort to the 49-seat house. Jason Bieber’s impressive lighting design; Nicholas Drashner’s sound (even interlaced with 90s rap…how does it always manage to sound so…Ion?); and Jeannie Gallioto’s costume design all add to the richness of the piece.

What I’m getting at is that I agree that “powerful” is an apt adjective, but describing why is a bit harder. In addition to the elements previously mentioned, I think that it is foremost Parks’ carefully crafted writing, writing that manages to capture the essence of people going through a particular plight but that also effectively shares that with a more privileged audience. Even that is a meager attempt, so I will just concede; it is hard to identify what makes “Topdog” that word, but I will, and I do, agree.

What I also find powerful is Ion as a company. I’m not always convinced that the typical San Diego theatergoer can handle the raw modern dramas and experimental theater that Ion (and a few other houses about town) cheerfully (and skillfully) produce—but they’re needed. Whether people can truly whittle away the messages on stage or are simply exposed to a new brand of theater, I appreciate Ion, maybe more than other companies, for going the distance and daring to be powerful when it’s easier (and maybe more profitable) to stay safe.

For more on Ion Theatre, please visit www.iontheatre.com