The Oscar-winning film-maker shapes his Broadway debut in our efforts to convert the unconverted, but if he hopes to change hearts and spirits perhaps the stage isnt the best home to do it
Hundreds of thousands of theater-goers will flock to Broadway this year to escape the reality of Donald Trumps presidency and its never-ending invasion of foibles, fabrications and faux pas. That is, after all, what live theater is for: a temporary interval from our neuroses, a chance to be suspended, in story, in real time.
Michael Moore, though, is betting on simply the opposite. With his new Trump-centric one-man show, The Calls of My Surrender, the documentarian and radical demagogue is taking on the president seven days a week, working his powers of solemnity and provocation to engender in audiences the kind of righteous rage hes been carrying for decades. If the Great White Way seems a plaza ill-suited for the political humorists firebrand of populism, hes hoping audiences examine the demo less as a teach and more as a call to action.
But the see, directed by the stage veteran Michael Mayer, might be addressing the awfully people thespians and Manhattanites who previously realize the president as Moore does: dangerously incapacitated, unexpectedly egocentric and pathologically specious. If Moore hopes to convert the unconverted, is a Broadway stage genuinely the best target to do it?
For one, its a totally new environment for Moore, whos uttered his job letter, addressing and growing politically oriented films( Roger& Me, Bowling for Columbine, Fahrenheit 9/11) that challenge Washingtons conventional wisdom, from its veneration of the free market to the takeover of Iraq. Along the acces hes become hugely controversial, a patron saint to the left and government satan to the freedom; if one were to make a listing of public figure good are available to allay the animus thats subsumed the countrys politics, Moore might come in last-place, right after the Dixie Chicks, Mel Gibson and Donald Trump himself.