Safe in Hell
Yes, Arthur Miller covered much of this same agitated territory in The Crucible, a fact of which Freed is well aware; she takes that fist-shaking drama and puts her own comic spin on it. The upshot is a piece that kids Miller (Freed even includes a foul-mouthed slave called Tituba) while also adopting the great playwright's attitude that what transpired in "hoar antiquity," as Nathaniel Hawthorne terms the era, is a potent metaphor for what's happening in America this very minute.
Specifically, Safe in Hell tells the mock tale of dorky Mather (Erik Lochtefeld in a lank black wig) and his stentorian father, Increase (Graeme Malcolm in a meringue-white wig and flowing green cape) during the days when witches prowled newly settled Massachusetts. Called from Boston to preside over Salem exorcisms on practically a daily basis, Increase is dubious about Cotton's self-proclaimed speaking-terms relationship with the Lord; the elder Mather isn't inclined to divide his exhaustive labors with his eager boy. Frustrated, Cotton goes to the Devil for help via a supposed forbidden book that falls from his father's upper shelf and almost literally hits him on the head. A few orgiastic exorcisms later, the newly confident Cotton is bullying people from the pulpit far more vehemently than his pater ever could. "Born again...again," Cotton has said about Increase's frequent head-pats from God, and now Cotton himself experiences born-again jolts.
As the play progresses, any resemblance that Freed suggests between the elder and younger Mather and our own George H. W. Bush and George W. Bush is not only purely intentional but is boldly underlined. Unaware that Cotton has been abiding by the devil's formula, Increase delivers a speech to his ambitious son that goes, "But there is another sort of conduit, lightning rods for other forces far more destructive. In the olden days, we called them witches or warlocks, but now we sometimes call them Your Majesty, Your Honor, General, Your Holiness, Mr. President. You understand me?"
There's no way not to understand him; Freed's political commentary is so thinly disguised that there's barely any disguise at all. (Nonetheless, Emily Rebholz's white-collared jackets and women's tight bonnets do an admirable job of establishing the period.) The author's determination is both her strength and weakness. The anger throbbing beneath comical scenes is welcome when the Mathers wrangle with one another and when the family Doakes (Adam Dannheisser, Welker White, Sofia Gomez, and Alexis McGuinness) grapples with its home-grown religious fervor. (At least, liberals will welcome it!) The down-to-earth vulgarity of Tituba, played by the wonderful Myra Lucretia Taylor, packs a punch -- especially as compared to Arthur Miller's Tituba. A few additional segments involving whipped-to-a-frenzy locals and some stuffed-doll supernumeraries also tickle the ribs.
Still, Freed has only a tentative grasp on her satire. In an ardent desire to lambaste Dubya, she hasn't noticed that her dramaturgical slips are showing. Some of the play's interludes simply aren't solid yet, particularly the one wherein Cotton visits Abigail and Little Mary Doakes in their attic to find out just what's possessing them. His sexualized discovery is a bit of a shambles. The character George Doakes, who ministers to Salem residents with a benevolent outlook, hasn't been integrated into the plot. Neither has Indian Roger, a white man who's adopted native ways -- right down to speaking pidgin English.