The current lack of decorum and common politeness in our nation’s capital seems to simply reaffirm what most American voters have thought about our representatives in Washington for centuries – that politics attracts the worst rather than the best people in our country, and that politicians are more interested in voting how their supporting special interests “pay them” to vote than they are in working together to vote for what is best for their constituents they represent.

Playwright David Edgar’s Continental Divide attempts to dispel some of this negative impression with his two-play cycle currently playing in rep at the La Jolla Playhouse, Mothers Against and Daughters of the Revolution. Between the two, we see people from both parties preparing for an election, expressing and debating the issues from both sides to give the audience a glimpse into the reasoning behind opposite viewpoints, and featuring politicians and political activists who mostly truly believe in the positions they take publicly – even some who are willing to risk the anger of their allies to take an unpopular stand on an important issue. Namely, a popular proposition on the ballot that would make all candidates for public office, applicants for public employment, current state employees, residents of public housing, and new or re-registering voters affirm their loyalty to the United States by solemnly swearing that they will defend America from foreign and domestic enemies, support the Constitution, uphold its values, and that they are not a member or supporter of any organization that pursues its ends by force.

Perhaps the more successful of the plays, Mothers Against, features Republican candidate Sheldon Vine who is actually against the proposition, seeing it as a vague and unconstitutional encroachment on our civil rights – a form of neo-McCarthyism inspired by fear and destroying the basic freedoms guaranteed by the Constitution. Naturally his more pragmatic supporters are upset, feeling that he is betraying the Republican Party and throwing the election. But his radical daughter and one Republican supporter who values people standing up for their principles encourage him.

With its relatively focused plot and a more central focus on him and his family, Mothers Against is fairly compelling, especially if you are interested in politics and behind-the-scenes campaigning. Though both plays in this cycle suffer from a similar problem – the playwright seems to have a million issues on his mind, and he wants to cram them all into his two plays. Story, characters, and flow are sacrificed as we move from one tangent to another. An aspect especially pronounced in the other play.

Daughters of the Revolution follows one man on his path to personal enlightenment as he explores his past that includes being involved in a radically liberal group that once considered a kidnapping. This one features a crazier plot that may keep the interest better – a plot including some mystery, lots of scene changes, and even an encounter with tree-dwelling environmentalists who repel down the large trees in exciting fashion. But the various side-plots that he goes through often seem forced into the story just to give the writer a chance to write about yet another issue he is interested in exploring, making it a bit too convoluted and often simply unbelievable.

Both plays feature some fine performances. Bill Geisslinger as Republican candidate Sheldon Vine seems the most real and human, giving you some hope for politicians even if you disagree with many of his political stances. His liberal daughter (played with great character by Christine Williams) is quick to point out the other viewpoints, and her relationship with her father is the only one that really generates some emotion. The versatile Michael Elich is Vine’s political advisor who helps represent what is wrong in politics, and Christina Rouner turns in a savvy performance as the idealistic Republican. Terry Layman gives a strong performance as the man sincerely in search of himself in Daughters, while Michelle Duffy creates his touchingly and amusingly real wife who probably has too small a part in the story.

Performs through August 1, 2004.

Rob Hopper
San Diego Playbill