Finks

Reviewed by Deborah Klugman
Rogue Machine
Extended through January 6 

RECOMMENDED

Plays that explore the abuse of power or the unjust scapegoating of the powerless nearly always reel me in, and Finks, written by Joe Gilford and set against the backdrop of the HUAC hearings in 1950-53, unequivocally fits that description. Leavened with humor, with a strong intuitive performer in the pivotal role, it’s a harsh reminder of what can happen when unscrupulous people acquire control of the workings of government and words become instrumental in destroying innocent lives.

For those hazy on their history, HUAC stood for the House Un-American Activities Committee, the witch-hunting arm of Congress that between 1947 and 1953 combed the American intelligentsia and entertainment industry in search of Communists and subversives. Individuals called to testify before the Committee were asked to “name names” — that is, point the finger at friends or associates whose behavior might be considered suspect by the Committee. Some people capitulated while others, more principled, refused. Those who stood their ground were unofficially blacklisted by their employers and could not get work. A few people recovered from this libel, but many artists lost their careers and their livelihoods.

Directed by Michael Pressman, the play pivots between the hearing room, where cross-examinations are conducted by Representative Francis Walter (Matt Gottlieb), and alternate locales (a nightclub, a living room, an agent’s office) that serve as backdrop for events in the lives of a group of artists dabbling in left wing causes. At the center of the story is Mickey Dobbs (French Stewart) a talented standup with little native interest in politics. One evening, performing in a Manhattan club, he meets Natalie (Vanessa Stewart), an attractive young activist passionate in her beliefs. Natalie, while an actress, devotes much of her time to organizing benefits to raise money for injured mine workers and the like. Attracted by Mickey’s wit and charm, she invites him to meetings where he performs. One thing leads to another, and pretty soon Natalie’s ditched her Bolshie husband Arthur and hooked up with Mickey. The two marry and have a baby.

In an ideal world these two likable people might have lived happily ever after, but the Committee’s inquisition has begun to spread like a cancer through their community of friends and colleagues, which includes Natalie’s longtime pal Bobby (Adam Lebowitz-Lockard), a gay dancer in the closet, and Mickey’s buddy, Fred (Bruce Nozick), an actor and painter with fiery convictions. As the play progresses, the Committee casts a wider and wider net, until everyone’s name, including Mickey’s, appears on Walter’s list, and one by one they’re called to testify — an ordeal that will measure the moral mettle of each.

Finks, weaving compelling fictional stories against the background of history (the cameo characters include famous Hollywood players like Elia Kazan, arguably the most infamous fink of them all) is full of dry wit that seems tailor-made to Stewart’s talents (though of course it’s the other way around). There’s music (musical director Richard Levinson at the piano throughout) and dancing and stand-up comedy — then suddenly, just when you’re enjoying the fun stuff, the scene changes, and lights come up on the Committee room, where a parade of nervous witnesses are interrogated by the unctuously venal Chairman. Gottlieb is solid as the serpentine Walter, while Thomas Fiscella is in versatile command as several of the men under subpoena, including Budd Schulberg and Lee J. Cobb (who were willing to snitch to save their careers). Daniel Dorr is effective as the arrogant Kazan.

Some of the other portrayals at the opening performance, while good enough, seemed still in development. Vanessa Stewart’s breezy Natalie is charming enough to make clear why the cautious Mickey abandoned his misgivings and joined her circle, but the depth of her passion for the cause might be played with more intensity. Nozick, whose Fred is angry, and Lebowitz-Lockard, whose Bobby is scared, likewise can cultivate their roles with more detail.

The Electric Lodge, 1416 Electric Ave., Venice; Fri., 8 p.m.; Sat., 3 p.m.; Sun., 7 p.m. (No performance 11/16 & 12/21; 11/17 show at 8 p.m.; added shows 11/26, 12/1, 12/8, 1/4 & 1/5 at 8 p.m.; 1/5 & 1/6 at 3 p.m.); extended through Jan. 6, 2019. (855) 585-5185 or www.roguemachinetheatre.com. Running time: approximately two hours with an intermission.