Surrounded by red velvet curtains, Antonin Scalia appears under huge crystal chandeliers to sounds of a crashing climax of a traditional opera. All appropriately frame the Supreme Court Justice’s introduction of himself as that body’s “Originalist.” He will be engaged in a debate during the Court’s 2012-13 term over the merits of his judgments. But is claiming originalism best for the country in contemporary times? Of his two law clerks, Edward Gero’s outstanding Scalia chooses his black, liberal, activist opposite, Jade Wheeler’s impressive Cat, as chief. Brett Mack as the disappointed, adoring, bright Ivy Leaguer white Brad represents the view that affirmative action always affects such appointments. He will act to counter such results. Debates between Scalia and Cat over their points of view constitute the action of the “play.” Underlying his judgments is his self-image as sticking always to the original views of the framers of the Constitution, including states’ rights. He decides issues also as a fundamentalist moralist, influenced by his brand of Catholicism. Cat believes in the Constitution as a living document, that it must adapt to issues such as gun control, abortion, and gay rights including marriage. She wants to see some conclusions on the basis not of history but of heart. And the results should apply uniformly to all citizens in the nation. Author John Strand presents, in every instance wonderfully substantiated by Gero, two views of Scalia. One is Judge Scalia as a bully, bigot, contrarian, who holds others in contempt. The second is Scalia as an eloquent, religious, thoughtful, witty, patriotic family man. Molly Smith’s direction may in fact allow Strand to sway audience opinion. Gero is allowed to become softer, more likeable as Scalia becomes like a nice mentor or even a father to young Cat. Even when Brat outs her, it doesn’t seem to cause negativity toward her by Scalia. An edited Scalia speech quotes him as recognizing “good people on all sides” of issues he actually judges by fixed morality to be wrong. Strand would seem to be partisan. In any case, Scalia’s stance remains prominent at the climax of The Originalist so the distinction between personal and political could be clearer. Despite the show’s unbroken length, it proceeds at a good clip. Scenery, lights, and costume changes are smooth and appropriate. If there was audience weariness about a political piece at a time of transition from emphasis on politics rather than government, the audience I was in did not seem uncomfortable or eager for operatic notes to end.
