1/17/2012

Lanford Wilson's The Mound Builders (Broadway Theatre Archive) (1976) Review

Lanford Wilson's The Mound Builders (Broadway Theatre Archive)  (1976)
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Filmed for public television on location near the (real) Coster dig in southern Illinois, this 1976 production of Lanford Wilson's Obie Award-winning play details the excavation of Jasker Field by archaeologists as they try to solve some of the mysteries of Native American temple mounds from 700 - 1000 A. D. This is frantic work, since a nearby lake is rising and a planned interstate, under construction, is scheduled to bury the site. Wilson creates a cauldron of emotions by housing all the principals in a farmhouse belonging to Mr. Jasker, whose son Chad enthusiastically awaits the expansion of the lake, which will give him valuable "waterfront property," and the building of the interstate, which will bring some excitement and change into his life.
As traces of civilization are uncovered at the dig, followed soon after by the discovery of artifacts and bones, the tension inside the house grows. Each of the main characters has problems--a previous emotional breakdown, a pregnancy, the unwanted attentions of Chad Jasker, a divorce and loss of personal direction, alcoholism, irresponsibility, and professional stress--and the viewer cannot help but make comparisons between the seemingly structured lives of the mound builders and the chaos in the lives of their "civilized" investigators. The "resolution" to the drama proves to be far more "uncivilized" than anything the early civilization might have contemplated.
Directed by Marshall Mason and Ken Campbell, the cast consists of relatively unknown actors. Trish Hawkins, as the gynecologist-wife of one of the lead archaeologists, acts naïve and without direction, and it is impossible to imagine her as a competent physician. Brad Jourif, as Chad Jasker, is suitably menacing but lacks the vulnerability and intellectual curiosity that the author has given him. Project director August Howe, played by Rob Thirkield, lacks the affect one would expect as he shows slides of the dig, which took place the previous year. Despite the angst and the confessions, these characters behave stereotypically, and the acting lacks the subtlety that would have made the themes and the resolution truly moving. Only Tanya Berezin, as alcoholic writer D. K. Erikson, the sister of August Howe, plays her role with a sense of cynical realism, becoming the linchpin of much of the action.
The videography is outstanding with many dramatically filmed scenes (Red Berridge), often framed by architecture, with interesting lighting and composition. The play itself deals with important ideas, preservation vs. progress, which are still at issue thirty years later. Though the acting may not be world class, this on-site production has a sense of immediacy often lacking in theatrical productions. Mary Whipple


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