With the Wyoming premier of Heroes of the Fourth Turning, Relative Theatrics produced a show that encapsulated the hard-hitting questions and big conversations that many Republicans and Democrats alike are facing in the modern day.
The show strove to properly capture the ideas and culture of Republicans and their views in conversations that are often not considered by those on the left side of the aisle. The performances were meant to convey a message, as Sean Coyle iterates, “about listening and finding a way into this larger idea of loving everybody. These are people who believe in these things for a reason.”
It is no mystery that the fine arts world is often one that is primarily occupied by those with left-leaning and liberal political views, and so the show is not one that came without controversy. This being the case, many theater companies were still ecstatic to put the show on. Anne Mason, who not only plays Emily in the show but acted at the dramaturge and primary research source, added, “Theatre is all about empathy. Companies were excited to tell a story that was missing. This show was about giving a platform to a new voice.”
The show itself opens on a minimalistic set. With a few benches accompanying a fire pit at what appears to be a humble country home. The opening scene features the character Jason, played by Nathaniel Quinn, shooting a deer amidst dead silence under strings of crystals illuminated under a dark serene scene in a way akin to stars hanging above an empty Wyoming night sky.
The show quickly transitions into festivities as different characters venture outside by the fire pit to have conversations. Casual chatter rapidly becomes what the anxious character Kevin, played by UW student Ethan Williams, calls “big conversations.”
Each character represents a sort of media-developed social archetype for the conservative world: a stoic country man, formerly a marine, an anxious and questioning christian fumbling his way towards purpose, a quiet and reserved woman who tries to mediate in any way she can as she lives a life that leads her to see that the other side of the political aisle is also trying to do good, and a high-powered businesswoman trying to destroy everything that is wrong with what ought to be conservative America.
These characters combine in a way that tells not only an engaging story, but a human one, that shows the deepest trenches of emotion within each archetype.
Quinn’s portrayal of Justin serves as a rock for the show, stabilizing even the most emotional and intense scenes with his concrete anchor of stoic patience. Even at the character’s lowest, Quinn does an exceptional job of capturing the reluctance and repression that many men face in their grown lives.
Williams’ portrayal of the frantic and anxious Kevin offers a stark contrast to Justin. His character seeks out big conversations, gets drunk, and has constant emotional panic and turmoil. He is a character without filter and this makes him the most raw expression of humanity the show has to offer.
When asked about challenges in playing this character, Williams stated, “there was a lot of familiar and unfamiliar aspects.” Williams cited that he and the character were incredibly different in their views and yet it was the human aspect that allowed him to capture the essence of Kevin, “playing Kevin gave me a valuable window into how other people think. I think understanding breeds compassion. He thinks really differently from me but in the end he just wants to be heard, seen, and loved, and I think we can all kind of understand that”
Similarly to Williams’ Francesca Mintowt-Czyz offered in her role that her and her character were near polar opposites, “the biggest challenge for me was becoming as politically, intellectually, and religiously informed as she is, just so that if I ever forgot a line or something went wrong, I had the ability to improvise and keep going.”
Her character, Teresa, offered some of the most dynamic emotions in the show. From her strong and charismatic rants to her dejected scenes in which her entire idolization of her mentor is shattered, Mintowt-Czyz does an immaculate job capturing the wide range of feelings that Teresa both experiences and chooses not to.
These characters are all held together by Emily. Even in the face of Emily’s mother, Professor Gina Preston, who is played with vigor and professionalism by Kathy Kirkaldie, she tries to hold strong as the mediator in the group: with Anne Mason’s portrayal of Emily’s emotional climax and final stand being one of the most riveting moments of the entire performance.
The show is a constant series of ups and downs, highs and lows, and topics that are often not seen on stage. From the conservative stance on abortion to the societal interpretation of transgender rights and the ideas behind what it means to be an American, a Christian, and a good person in this world, the acting and directing in Heroes of the Fourth Turning collide to create what is likely one of the most raw and beautifully done pieces of Wyoming theater to grace a stage.
At the end of it all, every interview and point can be summarized with one take away message: Life is a big conversation, there are a million points of view coming from a million perspectives. Each one means just as much as another. Each view is just a person trying to be heard, seen, and loved. If we all stop to take a second and truly try to understand each other, even when we do not agree, we might find that we are not all so different.
