Arena’s ‘POTUS’ is a Laugh out Loud, Deeply Human Comedy
Review by Norah Vawter
Naomi Jacobson and Natalya Lynette Rathnam. Photo by Kian McKellar.
It’s a rare comedy that manages to be witty, political, socially engaged, viciously smart, and so funny that you spend much of the show laughing out loud. And I mean, really loud laughter echoing through the theatre. Even joy.
Playing at Arena Stage through November 12, POTUS or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive explores a chaotic day at the White House, in which these women, ranging from the chief of staff Harriet (Naomi Jacobson) and First Lady Margaret (Felicia Curry) to wide-eyed, girlish Dusty (Sarah-Anne Martinez), struggle to keep the fictional, male president afloat. It’s the first production of Arena’s new artistic director, Hana S. Sharif.
POTUS’ playwright Selina Fillinger debuted on Broadway last year to great acclaim. Arena’s production is directed by Margot Bordelon, who has created a show in which the acting, stagecraft, sound, lighting, and overall ambiance echo the frantic pace and intensity of the script. The diversity of representation is notable, in race, sexuality, the presentation of femininity, and the ways women approach power, success, and the pursuit of happiness.
Kelly McAndrew, Felicia Curry, Sarah-Anne Martinez, Natalya Lynette Rathnam and Naomi Jacobson. Photo by Kian McKellar.
We never meet the president, or even hear him (or any man) speak. But we learn that this supposed “Great Man” is not so great. The women in his life are smarter, stronger and more politically savvy—even the ones who don’t appear to be smart or strong at first. Why aren’t any of these women president, the play asks? Harriet and Jean (the press secretary played by Natalya Lynette Rathnam) spend all day cleaning up the president’s mistakes and reigning in the chaos that snowballs through the White House and affects foreign affairs. Soon, our entire ensemble is swept up in efforts to control the shenanigans, sometimes reveling in the chaos and absurdity.
This is an unabashedly raunchy comedy that pushes boundaries with language, adult themes, and descriptions of sex. The first word is the c-word. As the show explores what can and should be said—and done—POTUS creates an exciting world of freedom and possibility. Not only does this play center the female experience and give voice to women who are often silenced or relegated to background roles, it allows their voices to be frank, authentic, and unconstrained.
Sarah-Anne Martinez and Megan Hill. Photo by Margot Schulman.
Casting director Joseph Pinzon has assembled a company who play off each other well, work together, and have a lot of fun. Megan Hill (as Stephanie, a secretary), Yesenia Iglesias (as Chris, a reporter), and Kelly McAndrew (as Bernadette, the president’s sister) round out this tight ensemble. All excel at witty banter, physical comedy, and running with a script that moves at break-neck pace. They can also pivot from comedy to vulnerability in crucial moments. But Jacobson and Curry deliver stand-out performances, peeling back layers to reveal hidden depths beneath the comedy.
POTUS’s stagecraft, sound, lighting, and general ambiance is also stunning. It’s bold, loud, and rock ‘n roll. Arena’s Fichandler Stage is a small, intimate space allowing the audience to feel part of the scene. Scene designer Reid Thompson gives us a bare bones set that grounds us in the world while its starkness reminds that this is a performance. Elements of the set ascend from beneath the stage, with doors, furniture, and sometimes actors rising from beneath—a cool trick that creates a fluid and sometimes surreal ambiance. Marika Kent (lighting designer) and Sinan Refik Zafar (original music and sound designer) complete the atmosphere with striking, engulfing effects. Ivania Stack’s costume design highlights each character’s distinct style and personality.
Felicia Curry and Yesenia Iglesias. Photo by Kian McKellar.
There is an ongoing bit about the First Lady’s love of guns that is troublesome. It begins with Curry delivering a powerful, bizarre monologue describing her character’s hunting pastime, including that she enjoys the violence of killing an animal, feeling empowered. It’s played as funny, and the audience around me roared with laughter. As the play’s chaos builds, this bit continues, and multiple characters brandish firearms. Guns continue to be played as comical. In a production that takes every other serious issue seriously, from sexuality and race to abortion and healthcare, this stands out. I think it’s important to interrogate how we portray guns in the fictional world.
POTUS delivers a gorgeous spectacle of comedy, drama, intensity, joy, and sisterhood. When you’re least expecting it, you find your emotions tugged and you realize how much you care about the people onstage. Though the play is often farce, these characters are not caricatures. POTUS is a deeply human comedy, surprising us with moments of vulnerability and even tragedy.
POTUS, or Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive, runs through November 12 at Arena Stage–1101 Sixth Street SW, Washington, DC 20024. For tickets, call 202-488-3300 or purchase them online.
Masks are recommended. Masks are required for select performances for all Arena shows this season, with those performances clearly marked. Please be aware that this comedy contains mature themes and very strong language.
Norah Vawter is DCTRENDING’s local authors editor, a freelance writer/editor, and a novelist. She has an M.F.A. in creative writing from George Mason University and lives with her family in Northern Virginia. Follow her on Twitter @norahvawter, where she shares words and works of D.C. area writers every Friday.