‘Emperor’ brings revolution to JMU
Theatre II addresses postmodern political unrest in bold new productions
By Adam Lowe, contributing writer
Posted on October 26, 2006

Good citizens of JMU, do not attempt to adjust your newspaper as you read the rebel message. The revolution will be acted out on the Theatre II stage this week in the form of Eugene O’Neill’s “The Emperor Jones.”

The play tells the story of an escaped convict who flees to another country and becomes its oppressive ruler. When the natives can endure no more and revolt, he attempts escape, only to find himself caught in the terrifying world of revenge exacted via psychological warfare.

While the original play takes place in the West Indies circa 1920, this production went for revolution’s more universal theme of rising up against the unjust, circumventing the limits of space and time.

To help downplay the show’s original and more predominant element of racism, the actors hid their ethnic identities by covering their faces (and in some cases, their mouths) with artistic renditions of half-human, half-animal-like creatures with mournful expressions.

Freshman Trevor Wilhelms  portrayed Smithers with brilliant characterization, using facial expressions that transcended his mask. He behaved like a dog beaten one too many times by its master, just waiting for the right moment to bite back.

Playing the title role of Emperor Jones was sophomore Jesika Hayes, who brought a great deal of realism to the very abstract and representational production as she hysterically wandered the treacherous jungles of Jones’ overthrown country. Although demonstrating potential to be a great actor, her diminutive stature and lack of commanding presence would make one wonder how her character would have ever risen to a position of power.

The music selection, while perhaps lyrically appropriate, often starkly contrasted the overall tone of the scene. This even affected the scene changes, as the cast would often break character while onstage to jump around and stretch their muscles.

During the symbolic dancing interlude set to Muse’s “Time is Running Out,” the beautiful yet incendiary tribal choreography harmonized with the story of the natives, but was juxtaposed against loud, questionably out of place rock music. Senior Kevin Hasser dutifully provided imaginative lighting as he created blinding silhouettes and violently dynamic chases at the most crucial times.

If the director, senior Vince Zangardi, was to take a blood test, it would come as no surprise if his parents were found to be director Tim Burton and Julie Taymor. True to his word, the show was not just “fresh” and “bold;” it was like nothing before seen at Theatre II.

The set has the feeling of a postmodern industrial jungle, as hanging chains and pipes served as vines. Hints of unrest permeate through the clever collage of graffiti-covered pizza boxes, caution tape, and a road barrier with the phrase “sic simper tyrranus,” Latin for “thus always to tyrants.” Even the actors themselves would often be subject to playing set pieces, another account of their dehumanization under the emperor’s rule. Overall, this production not only conveyed the original message of O’Neill’s work, but took it to the next level with its energy and creativity.

“The Emperor Jones” runs at Theatre II every night at 8 pm until Saturday, with an additional midnight performance on Friday. Tickets are $3.