The subjects of Steven Dietz's intense drama - intolerance, bigotry, hatred - are hitting precariously close to home.
"God's Country" is how The Order, a tightly knit organization of white supremacists, perceives the Northwest corner of the United States. Its one goal is simple: turn the region into a whites-only realm, untainted by Blacks, Jews and other "unwanted" ethnic or non-Christian groups.Dietz's play is an intensely drawn work focusing on three true-life people:
- Alan Berg, a controversial, outspoken, Jewish Denver radio talk-show host who was assassinated in 1984 by . . .
- a group headed by Robert Jay Mathews, an angry young neo-Nazi firebrand who founded The Order, and . . .
- Denver Parmenter, an educator who became attracted to the movement, dropped out of it, then got back in, and who eventually was a key witness during a trial in Seattle of 10 members of The Order on racketeering charges.
The play is basically nonfiction, told in docu-drama style, fleshed out by five fictional vignettes. The Seattle trial is the framework for a fluid series of scenes - flashbacks providing insights into the characters' lives and stunning images of violence, anger and racial hatred.
This is a powerful piece of theatrical literature, and director Rick VanNoy expertly moves his exceptionally strong cast through Dietz's gritty labyrinth of conspiracy, crime and corruption.
All 11 actors appear in a number of roles, rapidly shifting from well-dressed attorneys to khaki-attired guerrilla style survivalists.
Major roles are taken by Mark Mineart (Mathews) and Mikel T. MacDonald (Berg), both from this past summer's Utah Shakespearean Festival ensemble, and Charles Lynn Frost (Parmenter), long known as a busy Utah Valley actor and director, making a rare appearance on a Salt Lake City stage.
Leslie Suzanne Brott, another USF guest artist, gives a fine performance as Berg's ex-wife.
Rounding out the gifted cast are Steve Phillips, Bobbi Fouts, Brenda C. Myers, Steve Mehmert, Thomas E. Jacobsen, Kurt Johnson and Sam Littlefield - the latter a sixth-grader at Rowland Hall-St. Mark's. He has a remarkable future in the arts.
Keven Myhre's set, with a large montage across the back emblazoned with blown-up headlines and photographs, is stark, simple and functional, allowing the fast-paced scenes and dramatic images to flow smoothly along. Nicholas Cavallaro's lighting is particularly effective, augmented by Richard Jewkes' sound design.
And it all comes together with Steven Dietz's potent, thought-provoking script.
It's unfortunate that we live in a society capable of providing Dietz with ample material for such a frightening drama.