In Ancient Greece, poets (such as it was believed with Homer) would travel from city to city and recite epic poems in the palaces in the public squares. Somewhere along the line, someone had the idea of adding a second voice and thus theatre was born. Robert Schenkkan’s new play, Building the Wall — which recently had a limited run in New York and is set to perform in other cities across the nation — is a theatrical work in only this most elemental sense. Rather than detract from its power, this strategy only serves to heighten the works power.
The setting is a prison in El Paso, Texas; it is late 2019. Rick, played in the New York run by the user-intense James Badge Dale (The Pacific, Rubicon, The Departed) is being held for crimes that, at the beginning of the play, are unspecified but apparently monstrous. Rick is ex-military, ex-law enforcement, and ex-Trump voter. His rationale for his support is refreshingly complex. Tamara Tunie (Law & Order: SVU) plays Gloria, a professor doing research on Rick and the criminal event in which he was involved. While her character has been given a rather perfunctory backstory, she serves as witness and confessor (who may not accept the supplicant’s confession).
The vast majority of the play is taken up with Rick telling the story of how he ended up in prison. Alas, I cannot say much more than that as it would give away the punch-in-the-gut ending. Here, Schenkkan has crafted his work so that narrative is argument, and argument is narrative. As we come closer and closer to the events that unmade Rick. it is clear that the playwright is borrowing another aspect from Greek theatre: the inevitability of tragedy.
Building the Wall is an unapologetic cry against the policies of Trump and Trumpism. The President’s kleptocratic impulses and obstruction of justice are venial sins in comparison to what Schenkkan charts. The playwright honestly and sincerely — and thus chillingly — finds a great darkness and evil at the very heart of this administration’s policies. Sometimes it is difficult to look at this play, but look at it we must. As the recent controversy surrounding Shakespeare in the Parks production of Julius Caesar illustrates, art often provides the clearest moral lens on the actions the state allegedly takes on our behalf. Building the Wall then is more than just a warning. Again, borrowing from the Greek, it is a portent of the (possible) terrible things yet to come.