Erik Lochtefeld (Abe Lincoln) and R. Hamilton Wright (Stephen A. Douglas) in the Lincoln-Douglas Debate scene from Abe Lincoln in Illinois
The Pulitzer-winning play Abe Lincoln in Illinois by Robert E. Sherwood and directed by Sheila Daniels (who debuted at Intiman last year with a stunning production of Streetcar Named Desire) is currently running at the Intiman. The show will run until November 15,
Abe Lincoln is painstakingly historical, and Intiman carries through with its tradition of scads of dramaturgical information. The basic timeline of the play occurs during Abraham Lincoln's early life, right up to the moment he departs for Washington DC to take up residence at the White House as the newly elected President of the United States.
Below is a preview of the show, featuring Erik Lochtefeld as Abraham Lincoln.
The play itself is written in a classical style (originally written by Sherwood in 1939) and is composed of three acts, with intermissions between. It is thought-provoking and carries much potential if you have the Lincoln to carry it off.
Unfortunately Locktefeld does not seem to be that Lincoln. Grace must certainly be given, considering that this is not only one of the most famous men in American history, but also one of the most oft-portrayed. The role obviously comes with significant pressure. That said, Locktefeld seems neither to grasp the true heart of the man, nor the character's arc. At no point is his performance painful to watch, it's simply just not stunning. We are introduced to a somewhat feckless, debt-ridden Lincoln in his early years. Somehow this man must become the president who protected the Union and led the country to the abolition of slavery. Yet even at the moments of his greatest strength in the piece, the audience finds it difficult to believe that the man on stage is capable of such a transformation.
Erik Lochtefeld as Abe Lincoln (in foreground at right) with Allen Galli (Judge Bowling Green), Reginald André Jackson (Ninian Edwards) and Russell Hodgkinson (Trum Cogdal)
One watches the show feeling that Lincoln himself can claim very little credit for anything he did. In fact, he resisted acting on his principles so often that it infuriated the friends who believed in him. The dry sarcasm, disarming manner and general likability for which the actual Lincoln - according to his peers - was famous, is not to be seen on stage. We rather see a distressed, conflicted young man who would rather be left alone than effect any world change.
The production is punctuated by beautiful vocals, which Daniels also used in her Streetcar production. The lighting is dramatic and the set provides picturesque tableaux for the more poetic moments. A few actors stand out: Hans Altwies as Joshua Speed and Peter Dylan O'Connor as Billy Herndon, turn in beautiful performances whose passion and honesty bring much-needed interest to the stage.
The prevalent feeling at the end of this epic production, which closes on a stirring rendition of Battle Hymn of the Replublic and a soulful spotlight closing in on Locktefeld's face, is that it wasn't bad. It's not good, but it's not bad. It's so so. More or less.
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