Murder mysteries are an inherently weird concept. I say that as someone who reads them, writes them and loves them. I say that as someone whose family history includes homicide. It should feel perverse to get excited by the promise of a “good mystery.” Maybe this is why the genre has not proved to be an adaptable vehicle for social commentary the way other genres, such as horror, have. We need to keep the stakes low to justify being entertained by the loss of human life.
The stakes are not low in The Minutes, Tracy Letts’ Pulitzer Prize-nominated play, which is set during a city council meeting in the fictional town Big Cherry and now playing at Redwood Curtain Theatre. Teased as a “dark comedy,” the heart of the play is instead about what seems to scare us most as a nation: hearing our true history told back to us without fear or favor. This is a story about murder, but it’s not the toothless, cozy kind some of us watch in our pajamas.
There is a visceral description of racially motivated violence and use of a racial slur in The Minutes’ third act, as well as references to sexual assault and depictions of racist behavior. The company put out a statement shortly before its Sept. 17 opening night, referring to it as “a deliberately challenging play that examines white supremacy, historical erasure and the stories communities tell to protect themselves from uncomfortable truths.” The statement came on the heels of public criticism that Redwood Curtain had not done the work of preparing the community and its audience for this material. (Editor’s note: Some of this public criticism involved current and former contributors to the Journal. On Sept. 21, Redwood Curtain Theatre posted a statement beginning with, “Our production of The Minutes has led to concerns and controversy, and we are sorry for the hurt that has resulted.” Read the rest of that statement on the company’s Facebook page.)
I think that criticism is valid. Prior to this announcement, I was under the impression that I’d be viewing something akin to Miss Marple making a guest appearance on Parks and Rec. That’s not what this is. To be clear, I’m a white lady, and while I am OK with being made uncomfortable in the service of growth, I do not think that growth should come at the expense of other peoples’ trauma. Letts’ play was written in 2016, and while the message remains sadly relevant to our current moment, its gimmick now feels dated.
Understanding the larger context of this production gave me greater appreciation for the cast and crew. I’m not a thespian or scholar, just a civics nerd who reads whodunits, but I can tell when people care about what they’re doing and want to do it right. It was clear to me that the performers and producers had worked hard on this production of The Minutes, and that they understood the stakes. The easy chemistry of the cast, the seamless transitions between past and present, reenactment and reality, symbolism and substance, look effortless because they require enormous effort.
The performers in Redwood Curtain Theatre’s production of The Minutes, directed by Craig Benson, are unequivocally stellar. James Hitchcock, playing Mayor Superba, manages a chilling balance of chumminess and menace through his body language and tone, down to the forceful handshake with which he greets newcomer Mr. Peel (Evan Needham). Needham, the audience’s surrogate, manages to convey paragraphs’ worth of shock and dismay through his facial expressions alone. Kimberly Haile convincingly handles the inconsistencies of the officious public servant Ms. Johnson. The first half or so of The Minutes features brilliant comedic dialogue, delivered deftly by Christina Jioras (the dithery Ms. Matz), Elisa Abelleira (the blithe Ms. Innes) and standout Jim Buschman (the crotchety Mr. Oldfield). Having reported on my fair share of city council meetings, I was utterly convinced and bewitched by the cronyism and repartee between Gary Sommers (Mr. Breeding), David Hamilton (Mr. Blake) and Todd Hoberecht (Mr. Hanratty) as they duked it out (sometimes literally) over competing civic priorities. And — while his delivery as the brusque Mr. Assalone (“ass-A-loh-nee”) did not need the follicular assist — I particularly appreciated Michael Murdock’s mustache, a version of which I have seen adorn a fair share of local public officials.
Jeremy Webb, who plays councilmember Mr. Carp, is absent by design until the back half of this play. Despite his short amount of stage time, he is the protagonist, our sin-eater, our uneasy hero in a dapper plaid suit speaking truth to power. Webb rose to the challenge of this particularly tough role and did justice to both the source material and to a larger hunger many of us share to have some representation of public servants willing to do the right thing, even if that representation is fictional. While my reservations about this play’s content stand, I could find no fault with its execution. Webb delivers on the emotion, the anger, the sincerity and fear required to shoulder the heft of this story, reminding me of something my mom used to say: “Tell the truth, even if your voice shakes.”
Redwood Curtain Theatre’s production of The Minutes continues with Friday and Saturday shows at 8 p.m. and Sunday matinees at 2 p.m. through Oct. 10 at the 5th and D Street Theater. Call (707) 442-6278 or visit redwoodcurtain.com.
Linda Stansberry (she/her) is a freelance writer and journalist who lives in Eureka. More of her work can be found at lindastansberry.com, where you can also sign up for her weekly newsletter.
NOW PLAYING
The mystery continues with Clue at Ferndale Repertory Theatre with Friday and Saturday shows at 7:30 p.m. and Sunday matinees at 2 p.m. through Oct. 4. Call (707) 786-5483 or visit ferndalerep.org.
COMING SOON
Minneapolis-based touring ensemble Simple Machines presents the comic tale of a Gilded Age dandy in Say When, Friday, Sept. 25 and Sat., Sept. 26, at 7 p.m. at Dell’Arte’s Carlo Theatre. Call (707) 502-2047, or visit dellarte.com.
This article appears in Local Lit.
