Boss McGreedy
Gary Graves
Central Works
In his silk dressing robe, the “Boss” pours himself another whiskey as he listens to Dudley – his lawyer and friend since childhood – tell him there is a real possibility for a “remand,” if he will “just tell the truth.” The man who proudly boasts he built New York in his years as Commissioner of Public Works is also the convicted criminal in 212 separate counts of graft and fraud. Now in his sixth month of a twelve-year sentence, the well-appointed convict is serving his time in the warden’s apartment of the notorious prison in the East River’s Blackwell’s Island (the warden now conveniently living in luxury on 50th Street, thanks to his friend, Bill “Boss” McGreedy). But besides “telling the truth,” “Boss” is told by Dudley that he must also repay the millions he skimmed off the top several thousand building contracts – something he has no intention in doing.
And thus Central Works opens its 34th season with the company’s 73rd world premiere, a gritty, intriguing, and highly entertaining Boss McGreedy, written and directed by Gary Graves who remarkably has been a part of all those past productions. With a superb cast of three who each bring deliciously and distinctly honed quirks and qualities in voice, countenance, and stance to their characters, Boss McGreedy is a rip-roaring, yesteryear tale of justice being sought against a corrupter bursting in his bloated ego, lots of stashed wealth, and constant rants and ravings against the “lies, lies, lies” of a prosecutor’s office and against the “filthy, gossip rag,” The New York Times.
Sound familiar?
Michael Ray Wisely reigns supreme as McGreedy, walking about with an air of self-appointed royalty, ready to pounce any moment with raised-voice venom against anyone who counters his sense of superiority and authority. That includes the ever-loyal, easier-going Dudley (Brian Herndon), who is trying his best to cajole the stubbornly reluctant McGreedy to accept the offer to get out of prison in order to “get back into the game.”
But when the Special Council from the prosecutor’s office arrives with the intent to take a sworn deposition from McGreedy, the “Boss” explodes into a tirade of disbelief and scorn when the person walking in is – horror of horrors – a woman, one named O’Brian Byrant. Referring to her as “doll” and “girlie,” McGreedy volcanically erupts in attacks on her mission, purpose, and persona. With a waving arm and pointing finger, he often moves mid-rant only inches from her face with smirks clearly a combination of sexist and seductive. (Seeing yet more parallels to a certain someone in our world today?)
Anna Ishida’s O’Brian Bryan is fabulously steely eyed and non-reactive to the tirades of McGreedy. In a stance statuesque and feet firmly planted, the Special Council unemotionally notes, “We’ve uncovered a great deal since your conviction six months ago.” Surprises are calmly ticked off to an increasingly infuriated but clearly now-sweating “Boss,” who suddenly is ready to turn coat on the loyal Dudley in order to stave off accusations against himself. (Need any more evidence of script, director, and actor’s non-too-subtle comparisons to the T-man?)
As engaging as it is to watch this court-room-like duel between a near madman and a woman of much inner strength and self-assurance, we have not seen anything yet. Gary Grave’s nineteenth-century tale about a fight to bring justice against a rich and powerful cheat is about to voyage into river, sea, and ocean territories involving a teetering rowboat and storm-churned steamers as well as the countries of Cuba and Spain. Add in a singing boatman and a bargaining ship captain (both played by the versatily excellent Brian Herndon) as well as a sword-carrying, Portuguese soldier of fortune (Anna Ishida’s fun, quick switch) – all three hungry for some gold – and now this tale becomes a tall one of wave after wave of high-sea twists and turns.
Gary Graves astutely directs his own penned script, playing deftly to all three sides of an audience within touching distance of the action in the intimate, Berkeley City Center setting that helps make Central Works productions so special. His own lighting design incredibly captures the drama of the pursuit of justice as well as the desperation of the one being pursued while also bringing watery, stormy settings into flashing reality. Gregory Scharpen’s sound design sends rats scurrying near our feet as well as shakes us with the furies of wind and waves. Tammy Berlin’s costumes define the self-import of an imprisoned yet privileged “Boss” McGreedy, the self-confidence of a non-budging Special Council, and the good-guy nature of a nervous sidekick pal and lawyer. Her creativeness is tested and proven as characters change in both persona and circumstance.
For a world premiere, Central Works’ Boss McGreedy is a highly polished, well-executed first outing. There is some abruptness and momentary confusion with some of the latter scene and storyline shifts; but all becomes quite starkly clear as the climax unfolds at our feet of this right-against-might gem – a tale of the past with many resemblances to the present.
Rating: 4.5 E
A Theatre Eddys Best Bet Production
Boss McGreedy continues through March 31, 2024, in world-premiere production by Central Works at the Berkeley City Club, 2315 Durant, Berkeley, CA. Tickets are available online at https://centralworks.org .
Please note, masks are required by all audience members during the performance.
Photo Credits: Robbie Sweeny
