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</div><div style="text-align:center" id="yui_3_16_0_ym19_1_1478431093744_21624" align="center"><b style="mso-bidi-font-weight:normal" id="yui_3_16_0_ym19_1_1478431093744_21625"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21626"> </span>A Tool for the Living</b></div><div style="text-align:center" id="yui_3_16_0_ym19_1_1478431093744_21678" align="center"><b style="mso-bidi-font-weight:normal" id="yui_3_16_0_ym19_1_1478431093744_21625"><br></b></div>
<div style="text-align:center" id="yui_3_16_0_ym19_1_1478431093744_21627" align="center">by Tom Wachunas</div><div style="text-align:center" id="yui_3_16_0_ym19_1_1478431093744_21679" align="center"><br></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21628"><b style="mso-bidi-font-weight:normal" id="yui_3_16_0_ym19_1_1478431093744_21629"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21630"> </span>“Let us dedicate ourselves to what the
Greeks wrote so many years ago: to tame the savageness of man and make gentle
the life of this world.”</b> – Robert F. Kennedy</div><div id="yui_3_16_0_ym19_1_1478431093744_21680"><br></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21631"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21632"> </span>“<b style="mso-bidi-font-weight:normal" id="yui_3_16_0_ym19_1_1478431093744_21633">Memory is the mother of all wisdom”<span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21634"> </span></b>- Aeschylus</div><div id="yui_3_16_0_ym19_1_1478431093744_21681"><br></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21635"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21636"> </span><b style="mso-bidi-font-weight:normal" id="yui_3_16_0_ym19_1_1478431093744_21637">“Those who cannot remember the past are
condemned to repeat it.”<span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21638"> </span></b>- George
Santayana (1905)</div><div id="yui_3_16_0_ym19_1_1478431093744_21682"><br></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21639"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21640"> </span><i style="mso-bidi-font-style:normal" id="yui_3_16_0_ym19_1_1478431093744_21641">Program notes, ‘THE ACTION OF THE PLAY,’
provided by Players Guild Theatre: “By late summer, 1964, Attorney General
Robert F. Kennedy was a deeply wounded man. Still in shock and consumed with
grief and guilt over the assassination of his older brother, President John F.
Kennedy, on November 22<sup id="yui_3_16_0_ym19_1_1478431093744_21642">nd</sup>, 1963, in Dallas, Texas, he was at a
crossroads. The 1964 presidential election was approaching and President Lyndon
Johnson, who had been dangling the possibility of a vice-presidential role to
RFK, finally called Kennedy over to the White House to tell him his decision.
The result of that meeting and the subsequent direction for the next, and last,
four years of Robert Kennedy’s life are the focus of this play.” <br></i></div><div id="yui_3_16_0_ym19_1_1478431093744_21695"><i style="mso-bidi-font-style:normal" id="yui_3_16_0_ym19_1_1478431093744_21641"><br></i></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21643"><i style="mso-bidi-font-style:normal" id="yui_3_16_0_ym19_1_1478431093744_21644"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21645"> </span></i>It can’t be mere serendipity that the
first two productions of Canton’s Players Guild Theatre’s 2016-2017 season are
such timely, gripping looks at things presidential. ‘Tis the season of our discontent.
So let’s just call it sagacious programming on the part of the Players Guild.
In September, the <i style="mso-bidi-font-style:normal" id="yui_3_16_0_ym19_1_1478431093744_21646">Assassins </i>was a
chilling exposition of our culture’s spiritual poverty. And now, on the cusp of
a viciously divisive presidential election, we have <i style="mso-bidi-font-style:normal" id="yui_3_16_0_ym19_1_1478431093744_21647">RFK, </i>a one-man play written by Jack Holmes (from 2005). It’s an
even more searing examination of the sociopolitical malaise that defined not
only our past, but our tumultuous present as well.</div><div id="yui_3_16_0_ym19_1_1478431093744_21706"><br></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21648"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21649"> </span>I still vividly
remember Robert Kennedy - the man, and his turbulent times. I was just mature
enough (a high school junior) to study and admire him, even to the point of
painting an oil portrait of him (which I still own and treasure) within weeks
after his assassination on June 5, 1968. So yes, this play is unabashedly
nostalgic in its sensibilities, and yet never saccharine or cloying.</div><div id="yui_3_16_0_ym19_1_1478431093744_21708"><br></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21650"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21651"> </span>The action flips
back and forth – not unlike flashbacks in a documentary film - between Kennedy’s
memories of both public and private episodes, taking us up to his victory in the
Democratic presidential primary in California. In many ways we get a
micro-history of his thoughts and actions that transpired through such pivotal
and cathartic developments as The Bay of Pigs, the Civil Rights Movement, the
assassinations of his brother in 1963 and Martin Luther King in 1968, and the
war in Viet Nam, among others. <br></div><div id="yui_3_16_0_ym19_1_1478431093744_21709"><br></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21652"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21653"> </span>To his wholly
riveting portrayal of Robert Kennedy, Aaron Brown brings<span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21654"> </span>new meaning to “becoming the character.” The
process must surely have been a daunting one. But in the end, Brown has
masterfully crafted an intensely expressive picture of Kennedy’s physical and
psychological demeanors, including the distinctive affect of his Boston accent,
his often tired gait, his propensity for righteous rage peppered with impish
witticisms - all delivered with arresting, at times even startling credibility.</div><div id="yui_3_16_0_ym19_1_1478431093744_21711"><br></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21655"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21656"> </span><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21657"> </span>Particularly engaging is how the written
narrative assigns a role to us in the audience and constantly re-positions our
place in the action. In some passages we’re citizens of another country, or a
local American crowd on the campaign trail. In others we’re the patient
producers of a challenging promotional TV ad, or contentious colleagues on the
Senate floor. In still others we might be guests at a social gathering, beloved
family members, or reporters interviewing him in his living room. <br></div><div id="yui_3_16_0_ym19_1_1478431093744_21713"><br></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21658"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21659"> </span>Interwoven with
these contextual shifts, though, is an overarching sense that <i style="mso-bidi-font-style:normal" id="yui_3_16_0_ym19_1_1478431093744_21660">we</i> might well be the pages, as it were,
of a journal, or perhaps even Kennedy’s conscience. As such we’re privy to his
most fragile and tender reminiscences, as well as his deepest philosophizing.
We hear Kennedy quote the ancient Greek poet and playwright, Aeschylus, several
times throughout the evening. And interestingly enough, Aeschylus is often referenced
by scholars as the “father of tragedy.” This in turn makes for a bittersweet
connecting to Kennedy’s returning, more than once, to his haunting thought,
“Tragedy is a tool for the living…” <span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21661"><br></span></div><div id="yui_3_16_0_ym19_1_1478431093744_21715"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21661"><br></span></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21662"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21663"> </span>This production is much
more than sentimental entertainment. It is eminently compelling art - a still relevant
(heartbreakingly so) and urgent call to identify, nurture, and emulate what
Abraham Lincoln once called “…our nature’s better angels.” Angels who, perhaps,
fled our midst long ago.<span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21664"> </span></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21665"><i style="mso-bidi-font-style:normal" id="yui_3_16_0_ym19_1_1478431093744_21666"> </i></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21667"><i style="mso-bidi-font-style:normal" id="yui_3_16_0_ym19_1_1478431093744_21668"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21669"> </span></i><i style="mso-bidi-font-style:normal" id="yui_3_16_0_ym19_1_1478431093744_21670"><span style="font-size:14.0pt;mso-bidi-font-size:11.0pt" id="yui_3_16_0_ym19_1_1478431093744_21671">RFK</span></i>, at Canton
Players Guild’s William G. Fry Theatre, 1001 Market Avenue N., Canton, Ohio /
Shows THROUGH NOVEMBER 13 – Friday and Saturday at 8 p.m., Sunday at 2 p.m. /
SINGLE TICKETS $17 / $13 for ages 17 and younger / Order at<span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21672"> </span><a href="http://www.playersguildtheatre.com/" id="yui_3_16_0_ym19_1_1478431093744_21673">www.playersguildtheatre.com</a>
<span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21674"> </span>or call 330.453.7617 <br></div><div id="yui_3_16_0_ym19_1_1478431093744_21693"><br></div>
<div id="yui_3_16_0_ym19_1_1478431093744_21675"><span style="mso-spacerun:yes" id="yui_3_16_0_ym19_1_1478431093744_21676"> </span>For other
commentaries on the arts by Tom Wachunas in the greater Canton area, please
visit is blog, ARTWACH, at <a href="http://www.artwach.blogspot.com/" id="yui_3_16_0_ym19_1_1478431093744_21677">www.artwach.blogspot.com</a>
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