Play discovers historical parallels

Upon reaching an impassible, rugged terrain, Captain Meriwether
Lewis declares that he and his expedition are the first human
beings in history to reach this geographical point. Seconds later,
an American Indian scurries past Lewis’ group, taking no
notice of them. Lewis retracts part of his statement, instead
asserting, “Well, we are the first civilized beings to walk
here.”

Still, Lewis (played by James Barbour) utters his statement to a
group that includes a black slave and a Shoshone guide, Sacagawea
(Tess Lina). His definition of “civilized” consequently
becomes more and more hazy.

Such are the issues raised in Center Theatre Group’s world
premiere of “Lewis and Clark Reach the Euphrates,” on
stage at the Mark Taper Forum through Jan. 22.

Pulitzer Prize-winning playwright Robert Schenkkan deftly uses
the Lewis and Clark expedition as a frame story to satirize the
United States’ longtime fascination with discovery and
expanding an empire of liberty.

Although Lewis and Clark’s expedition is often recognized
as a landmark discovery, Canadian explorer Alexander MacKenzie
completed a similar trek nearly a decade earlier and even published
his findings prior to the American expedition.

Schenkkan humorously depicts this incongruity in his play.
Barbour states that their U.S. expedition is making history, admits
that Canada made history a decade earlier, but then scoffs that
“Canada doesn’t count.”

But as its title suggests, “Lewis and Clark” does
not merely analyze the Louisiana Purchase and its subsequent
exploration. The play also draws a parallel between Lewis and
Clark’s mission and other instances of U.S. discoveries and
endeavors to expand the empire of liberty.

As Barbour puts it, “Why not help the world, not just the
people of the Missouri, discover freedom and democracy?”

As their voyage progresses, Lewis and Clark (Jeffrey Nordling)
miraculously find themselves in Cuba alongside Teddy
Roosevelt’s Rough Riders, then in the Philippines, Vietnam
and finally Iraq.

With each new location, the opposition to the U.S., as well as
the body count, increases. Schenkkan effectively satirizes the
United States’ role in these conflicts through
Barbour’s statement: “Pay not attention to what we say;
pay attention to our intentions.”

Nordling serves as an effective foil to Barbour, arguing that
they need to take more responsibility for their involvement, rather
than merely having good intentions.

Throughout the play, Schenkkan and director Gregory Boyd succeed
in making an early-19th-century historical event feel relevant. The
audience’s first glimpse of President Thomas Jefferson
depicts him seated at his Oval Office desk with one of his female
slaves hidden underneath, directly alluding to a Clinton and
Lewinsky tryst.

When Lewis and Clark finally reach the Euphrates, Donald
Rumsfeld and Colin Powell appear at the scene in an exaggerated yet
compelling debate concerning the purpose of the war in Iraq, even
incorporating direct quotes from these public figures, and
climaxing as Rumsfeld launches into his now-infamous “unknown
unknowns” speech.

To be fair, Schenkkan rarely focuses on the positive aspects of
Lewis and Clark’s journey, of which there were many, and
gives the audience a rather limited scope of events. But he is a
master of satire, and his statement against the U.S.
“invasion” or “liberation” (depending on
which character utters it) of Iraq is one of the most potent
brought to the stage thus far.

If nothing else, “Lewis and Clark Reach the
Euphrates” prompts its audiences to rethink the traditional
view of U.S. history and take a good, hard look at their own
intentions and actions.

““ Natalie Tate