Playwright: Lanford Wilson
At: Griffin Theatre, 5404 N. Clark
Phone: (773) 769-2228; $20
Runs through: July 27
Fifth of July premiered at New York's Circle Repertory Theatre in 1978 (going on to a much ballyhooed Broadway production two
years later). The fact that the play premiered just one year after the time period in which it was set was significant because it stood as
an artistic signpost for the change that was about to overtake America: the hippie radical baby-boomer generation that was poised on
the brink of change before the 'me' 1980s emerged. Many many of the idealistic folks that wanted to make sweeping changes to
society were sucked into a more monetary, selfish way of life. Wilson's play portrays a group of such characters, gathered together at
the family homestead in Missouri. At its center was a gay couple that demonstrated the societal dichotomy that was just emerging. <
p>There was crippled Vietnam vet, Ken (a soulful, sympathetic turn by David Gray) and his lover, Jed (fine work by Ben Viccellio).
Ken is bitter, borderline alcoholic, and wanting to move away from the generation that eschewed him and sought to go back to nature
while he fought a war no one wanted. Ironically, his much younger partner, Jed, is all about growing things, coaxing forth bucolic life
from the Missouri land. The pair—and the tension of their relationship—represents the pull of forces that were beyond them.
Then we have Ken's sister, June (Lynda Newton) a former radical, promiscuous flower child who finds it difficult to thrive in a
world where her views are fast becoming archaic. Gwen (a paradoxically fragile and brassy Chiara Lucia Mangiameli) and her
boyfriend, John (Eric Slater) want to buy the land and turn it into a recording studio, reaping the riches that Gwen's singing talent
could potentially deliver. At either end of these spectrums is the matron, Sally (Patricia Donegan) and June's flighty daughter, Shirley
(Audrey Yeck), who both share a quiet wisdom about the concept of home, and how it contributes to our dreams and growth.
Wilson expertly sets up the colliding of forces here, in a script that's both an emotional and insightful commentary on changing times.
His portrait of a family on the brink of change is reminiscent of the best of Chekhov.
vThank heaven Fifth of July landed in the hands of the Griffin Theatre Company, who give it a powerful, nearly flawless production
under the capable direction of Richard Barletta and Jonathan Berry. The directorial team coaxes accomplished work from the entire
ensemble; there's nary a weak link in the cast. Chiara Lucia Mangiameli is particularly good as the pill-popping, booze-swilling singer
who's afraid to sing in front of others. Nathan Combs' set design, with its big country porch, peeling paint, and slamming screen door
sets just the right tone, not only in the sense of realism, but as a reflection of the collision of past and present. Bill Morey's 1970s
costume designs are right on target, too, resisting the urge to make them over the top and grounding them securely in the era.
Fifth of July is one great show … from the foundation of a moving, important script, right on up to the excellence of its acting and
creative design. Don't miss it.