Playwright: Adapted from
Robert Riskin screenplay
At: Shattered Globe at Viaduct Theatre
Phone: (312) 223-1168; $25
Runs through: April 24
Can there be anyone unfamiliar with Frank Capra's classic 1941 film, a study in American political demagoguery and a veiled warning against Fascism, produced on the brink of World War II? It's the tale of Ann Mitchell, a fast-talking reporter who hires an attractive hobo (Gary Cooper in the film) to play an Everyman she has created as a newspaper ploy. John Doe, as she calls him, threatens to commit suicide on Christmas Eve if people don't treat each other better in hard Depression times. Doe's home-spun eloquence—words cleverly crafted by Ann—catches the public fancy. As a grassroots John Doe political movement quickly catches fire, Ann's powerful boss, media mogul D. B. Norton, attempts to capitalize on it for his own dark purposes.
As adapted by Dori Robinson and director Louis Contey, Shattered Globe's unique world-premiere stage version is faithful to the film in almost every story detail save two: an ambiguous final tableau leaves John Doe's fate—and Anne's love for him—in doubt, and an interesting element of sexual allure is added between Anne and Norton. But story elements aside, certain film elements are lost that are not countered by stage additions.
For example, the film's fades and dissolves moving quickly from scene to scene are replaced by physical scene changes. As tables and chairs are moved, a trio of folksingers delivers Woodie Guthrie tunes and other period songs. It's an appropriate idea; but with or without songs, the scene changes add 10-12 minutes to the running time. Coupled with an intermission that probably isn't necessary, the net effect is the loss of tension created by the film's rapid pace and building momentum.
Also, the brilliance of Capra's montage is irreplaceable: the rapid editing of close-ups and two-shots to convey the reactions not just of the principal characters but of scores—it seems like hundreds—of ordinary people. Shattered Globe would have to double its cast size (already a hefty 14) to begin to convey Capra's feel for the crowd.
The story, then, pretty much is left to its own devices. Fortunately, it's a strong story and a timely cautionary tale, even if naive—or at least simplistic—by today's standards. Always known for strong acting, Shattered Globe comes through with Julie Granata especially sharp as Ann Mitchell. As John Doe and Norton, Joe Forbrich and Ben Werling are intuitively fine choices, but are too stolid. Neither really has a lot of dialogue, so the characters need personality to come alive. For Doe the keys are warmth and humor—remember Capra's keen use of comedy—while for Norton the key is charm. This ambitious adaptation has the spirit and integrity of the film, although not all its nuance. Theatre needs words where film needs only images.