Mary Kathryn Nagle’s Manahatta at the Public Theater somewhat jarringly juxtaposes a contemporary story against an historic one. The flimsy plot draws parallels between the 2007-08 subprime mortgage crisis and the Dutch colonists’ takeover of what becomes Manhattan Island in the early 17th century. In the modern story, ambitious Jane Snake becomes the first Native American to work on Wall Street, selling derivative mortgages. Meanwhile back in her Oklahoma home town, her mom Bobbie takes out a mortgage in order to pay off her late husband’s astronomical medical bills. Ironic, huh? These scenes alternate with vignettes of Peter Minuet and Dutch settlers muscling out the Native Americans (played by the same actors as in the 21st century story) from the very ground Jane will later work on as a trader.
Nagle makes several valid points about ravenous capitalism and includes lots of interesting information. For example, the tulip market pushed up prices to nose-bleeding levels and forced Dutch merchants to gobble up American land for its furs. But what works as a lesson in history and economics doesn’t necessarily work as effective drama. The parallels are forced, and the emotional impact is nil. When Bobbie’s house falls to foreclosure, she shrugs and launches into a reflective, philosophical monologue on how Native Americans have to keep moving because they are perpetually pushed out by the white man. This may be a truthful social statement, but it does not dramatically resonate. Especially when her daughter writes a check for the full amount owed on the spot. (Bobbie tears the check up because of what, pride?)
The secondary plot of Jane’s sister Debra attempting to set up a school to teach the Lenape language is more potentially powerful, but Bobbie also minimizes the school’s failure, leaving us with little to take away.
Laurie Woolery’s direction smoothly blends the two eras and multiple locales as do Lux Haac’s clever costumes.
Elizabeth Frances as Jane and Rainbow Dickerson as Debra and their 17th century counterparts give as much depth to their dual roles as possible as does Sheila Tousey as the frustratingly noncommittal Bobbie. Enrico Nassi also has moments of fire as Luke and Black Beaver, Jeffrey King is a hissable villain as the mercenary Minuet and his 2007 double. But it’s not enough to make Manahatta more than an intriguing history lesson.
