Pigs Eye Theatre - The Front Page: “The Front Page” paints cynical yet realistic picture of press

The Front Page By Ben Hecht and Charles MacArthur	Directed by Randall J. Funk
March 19 - April 3, 2004 at Cedar Riverside People's Center

“The Front Page” paints cynical yet realistic picture of press

by Amy Danielson
The Pulse of the Twin Cities

March 24th, 2004

When The Front Page premiered on Broadway in 1928, it was a hit, but also controversial for using profane language, employing racial stereotypes and referencing debaucheries. Lewd comments about women’s sexuality and use of the word "nigger" smear the production. Supposedly playwrights Ben Hecht and Charles MacArthur were attempting to paint a realistic picture of working in a Chicago pressroom in the ’20s. And having been former newspapermen themselves, this realism is likely accurate.

Yet what was controversial then is somewhat frustrating now, even in the context of a satire. The real problem here, and what was not a controversy then, is the treatment of women in this play. Of the 21 characters, five are women, and all are represented as either whorish or hysterical. It is difficult to win over an audience with a play like this now, so full of political incorrectness and degrading gender roles. But it is a quintessential American play for its realistic representation of the press and the government, and Pig’s Eye Theatre effectively sifts through the mess and stages a weighty production.

The entire play takes place in a pressroom in Chicago’s Criminal Courts Building adjacent to the jail. It is the evening before a young leftist, Earl Williams (Josh Jabas), is to be hanged. He has been wrongly convicted of murdering a Chicago police officer, and the press is calling him a Bolshevik. The Front Page abounds with cynical newspapermen interested in condemning Williams as representative of the Red Threat to America. Among the reporters is Hildy Johnson (Matt Anderson), who is quitting his job so he can move to New York and get married. But his plans are interrupted when the convict escapes from jail. Williams climbs into the pressroom window to hide, and Hildy stuffs him in a desk in an effort to get a reward. Hildy is torn between leaving for New York with his girl and staying with his passion, yellow journalism. It becomes evident that the press is as corrupt as the sheriff and the mayor, and in the end, not much is gained other than Hildy’s realization that his relationship with his girl is more important to him than his notoriety.

So, yes, this play is important in that it portrays a fairly accurate, albeit depressing view of American politics and the press’ inaccurate reporting. Sadly, there is undoubtedly far more corruption in the pressroom than ever before. However, this woeful story has a quite a few good laughs and director Randall J. Funk has made the most of them. He does well managing the massive cast and keeps this farce cohesive with strong leading actors. Matt Anderson plays a perfectly smarmy and fast talking Hildy Johnson. Every dubious grin, every stuttering slip of the tongue is timed perfectly as his Hildy is pushed and pulled from one absurd career and personal dilemma to the next. Not only does he do well negotiating his character’s fast pace, but also his indecision regarding his career. Jay Urmann is the unwitting Sheriff Hartman. His representation of a so-called man of power who actually has little is both funny and presumably realistic. And of course, Alex Cole is incredible as the mayor. He throws his weight around the tiny pressroom, literally and figuratively, making each scene he’s in both hilarious and tensely dramatic. His voice projects power; every line seems to be accentuated by a particular word that he shouts for effect. It’s unfortunate we don’t see more of his character whose campaign slogan is: “If it ain’t broke, don’t fix it. Vote for Fred.” Kevin Carnahan also does well as Walter Burns; he is convincing as he attempts to persuade Hildy to stay in the business. As Williams’ girlfriend, Mollie Malloy, Tina Frederickson is brazen as the most powerful of the female characters. The bulk of the rest of the cast primarily create atmosphere. Most players act as minimalist props, adding minutely to the overall plot development, but playing important roles nonetheless. They play poker and one strums a banjo among the crumpled papers of the pressroom while the important business of telephone calls take place in the foreground. During the chaotic scenes, they rush in and out of the pressroom and create tension as Hildy sweats.

In the end, Funk ably pushes the coarse and crude elements of this play into a solid production. He balances the wisecracks and the physical comedy with a naturalistic atmosphere of a dirty, chaotic newsroom. What fails most in this production is the writing, especially in the dull moments of the first act, but we forget about it in Acts Two and Three when the writing becomes exciting and Funk’s direction pushes the show forward.

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