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Regional Reviews: Washington, D.C. The Originalist Also see Susan's review of Freedom's Song: Abraham Lincoln and the Civil War and Laugh
The root of Strand's drama is the conflict between Scalia and Cat (Kerry Warren), an ambitious and liberal young woman who becomes the justice's law clerk. The time is 2012-2013, as the Supreme Court was considering whether to overturn the Defense of Marriage Act and allow same-sex marriage. The audience first sees Scalia conducting opera to a recording. He compares his love for opera to his love for the U.S. Constitution: each of them, in his view, can be only what the original author(s) wrote it to be. As an "originalist," Scalia considers the Constitution a "monument" rather than the living document his ideological opponents see; to him, more recent reinterpretation of the Constitution is ephemeral, driven by emotion rather than reason. Cat knows she will have a tough time going head-to-head with a jurist whose opinions are so far from her own, but she wants the chance to learn from a sharply focused legal mind. Gero knows how to bite into a juicy character and draw out all the nuances he can find. His Scalia stands on a solid foundation of family, tradition, and devout Roman Catholicism; he has disappointments and occasional crises of faith, but manages to resolve them with a minimum of outward stress. Gero also takes advantage of an opportunity to mimic Strom Thurmond and Ted Kennedy. Warren gets to unbend a bit more than Gero; Strand shows her dealing with family issues and lets her spar with Brad (Harlan Work), a Scalia acolyte and almost a caricature of the blond preppy from a good family. As intimate and compact as the Kogod Cradle is, Misha Kachman's scenic design brings the audience even closer with a thrust-stage configuration and seating on three sides. The setting is simple—a desk, two chandeliers, abstract set pieces that rise from the floor—allowing for the human drama to take center stage. Arena Stage
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