Nimrod
Reviewed by Terry Morgan
Theatre of NOTE
Through March 19
The Trump administration was noted for an almost Shakespearian level of hubris, and the world is still waiting with bated breath for the comeuppance we’ve always been told follows such behavior. Life always models itself after literature, right? For those of us who can’t wait for reality to accord with fiction, playwright Phinneas Kiyomura has crafted Nimrod, a most tragical comedy in which these matters are finally resolved. The world premiere of the play at Theatre of NOTE features a bravura turn by Kirsten Vangsness as the Orange One, and a talented ensemble, but although it’s amusing it doesn’t ultimately seem to have much of import to say.
First Lady Lani (Hiwa Chow Elms) can’t wait for the first term of her husband, President Nimrod (Vangsness) to be over. She thinks he won’t run for a second term, so she can be with her bodyguard lover, Carver (Edward Moravcsik), and get a nice payday by divorcing her hubby. Unfortunately, advisors such as the slovenly but clever Blandon (Sarah Lilly) and the old drunkard Ghouliardi (Sierra Marcks) have no intention of letting it be a one-term presidency. Meanwhile, rebels from the opposition party such as tough older lady Fairfellow (Joel Scher) are trying to make sure that there is no possibility of Nimrod being re-elected by killing him first.
Elms does a nice job of showing Lani’s conflicting motives of love and greed and maternal concern, and a scene in which she puts on the “Melania” persona for an interview is quite humorous, but as written we never actually feel any real emotions for the character’s dilemma. Moravcsik is convincing as the earnest Carver and Asha Noel Iyer is quite good as her damaged son, Dukie. Lilly, Marcks and Scher all have great fun with their broad, scheming characters, but Lilly manages to be chilling as well. Finally, Vangsness is inspired as Nimrod, channeling his supreme narcissism and brute cunning in a hilarious performance.
Director Alina Phelan keeps things moving with energetic pacing, and her staging is a marvel of efficiency, keeping 15 actors in frequent motion on the tiny NOTE stage. Kiyomura has added to the challenge of the piece by writing it in Shakespearian verse, but although this is ambitious it doesn’t entirely work or make the show stronger. Nimrod succeeds more as a clever goof than as a meaningful play, and gags such as removing prepositions in much of Nimrod’s dialogue (“Go bed!”) or scenes such as Nimrod and a Putin-substitute communicating via ridiculous sign language are genuinely funny. So there may not be new political insights or serious moral lessons to learn here, but Nimrod is certainly an entertaining sendup of the not-missed Trump years.
Theatre of NOTE, 1517 N. Cahuenga Blvd., Hollywood; Thurs.-Sat., 8 pm; Sun., 2 pm; through Mar. 19. (323) 856-8611 or www.theatreofnote.com. Running time: two hours and 10 minutes with an intermission.
