ann, the fast-talking texas broad
by Douglas Messerli
Benjamin Endsley Klein (with contributions by
Holland Taylor, writer) Ann / the production I saw was a taped version
of the play from 2016 at the Zach Theatre in Austin, Texas
Richards, if you are too young to remember, first came to national
attention at the 1988 Democratic Convention, beginning with the comment that
she is glad to be speaking there on that evening because “after listening all
these years to George Bush, I figured you needed to hear what a real Texas
accent sounds like.” “Twelve years ago Barbara Jordon, another Texas woman,”
Richards continued, “also gave the keynote address to this convention, and I
figure two women in 160 years is about par for the course. But if you give us a
chance, we can perform. After all Ginger Rogers did everything Fred Astaire
did, but she did it backwards and in high heels.”
Howard and I were there through a live-television broadcast which almost
immediately made every Democrat in the country fall in love with her.
Playing this larger-than-life figure with uncanny preciseness—as The
New York Times reviewer Charles Isherwood put it, “If you can spy even a
crack of daylight between actor and character in this performance, you’ve got
better eyes than I do.”—hardly missing a beat between her clear adoration of
her towering (6 some feet) father—who took her on regular fishing trips as well
as to the local town storefronts, where, as one of the “good ‘ole boys,” he
lovingly allowed to enter his world, and her impossible to please mother, who
after attending one of Richards’ most famous speeches, gushed her pleasure not
over her daughter’s words, but the fact that she had been able to meet the
local weatherman.
Ann was clearly blessed, so she felt, by her marriage to the noted Civil
Rights lawyer, Dave Richards, quickly attempting to become the
more-than-perfect-wife, celebrating and hosting his many friends with large
family dinners, as well as helping with his several law cases. Her reward for
all this activity, as she recounts, was a few vodka martinis at the end of each
of her long days.
By the time her friends got around to telling her that after a few
martinis she was a different woman, encouraging her to join AA, her marriage
was also beginning to fall apart. As she humorously summarizes her experience:
“I musta drunk eleven hundred thousand martinis by the time I landed in A.A. —
and by then, I was this big ol’ county commissioner! So I like to think I broke
a barrier for politicians with an addiction in their past. And nowadays, hell,
you can’t hardly even get into a primary unless you’ve done time in rehab.”
After all of that, is it any wonder that she nearly forgets to return
her heels to her feet, quipping: “You know, I’m getting more and more
forgetful. Soon I will be able to hide my own Easter eggs.”
Without any money to speak of, and no obvious source of future income,
she is fearful that she will end up in a trailer in her daughter’s driveway.
But suddenly, she brightens, just as I was about to buy a bait and tackle shop,
people began to invite me to lecture, and a large group of Democratic politics
ask her to join them in New York, for they had causes while I had all the
addresses.
Even with a less-than-perfect ending, this play is a delight throughout,
as Taylor
takes her wise-talking hero on a walk through
the past she so much deserves.
Richards died of cancer in 2006, but through her still many living
friends and acquaintances, her larger-than-life persona, the fast-talking
political diva came alive at the Vivien Beaumont Theatre in New York and in the
numerous theaters in other cities throughout the country where Ann was
performed. Even as a reviewer, I could not get tickets when it ran at the Pasadena
Playhouse.
Los Angeles, June 25, 2020
Reprinted from ISTheater, Opera, and
Performance (June 2020).
No comments:
Post a Comment