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The Tufts Daily
Where you read it first | Thursday, March 28, 2024

Theater Review | ‘The Power of Duff’ pushes boundaries, explores socially relevant topics

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“Religion is the neglected and deluded stepchild of logic and reason,” character Scott Zoellner, a news director, explains in a critical scene in Stephen Belber’s “The Power of Duff.” A local production of the play — directed by Peter DuBois for Boston’s Huntington Theatre Company — deftly explores the role of religion and spirituality in ostensibly secular America.

“The Power of Duff” tells the story of Charles Duff (David Wilson Barnes), an anchor at Channel 10 News in Rochester, New York. After his father’s funeral, Duff returns to work and improvises a prayer on one of his live broadcasts — to the delight of many viewers and the horror of his boss and fellow journalists, who blast him for his lack of journalistic integrity. Duff, however, continues to ad-lib prayers each night, creating a great change in his community and transforming him into a Christ-like figure. Although the play contains hints of darker material, it avoids a predictable collapse into tragedy. In fact, the first act is comedic and light, while the second act clings hopefully to optimism and the power of community in the face of sorrow and failure.

It’s easy to question the relevance of a play focused on a television news channel in the age of the Internet. Yet modern issues dominate Belber’s work: gentrification, homosexuality, marital and familial issues and the role of religion in contemporary society. Belber’s play is reminiscent of “Network” (1976), Paddy Chayefsky’s stunningly prescient film about a crazed news anchor who is exploited for ratings, revealing the insanity of American media. Indeed, once word spreads about Duff’s religious work, others try to take advantage of him for their own profit. Belber even incorporates a scene where Duff is flown to a meeting with a Google executive to discuss a future crusade into Africa — highlighting the exploitative consumerism that can go hand-in-hand with religion.

DuBois’ direction is seamless and effective — there are no wasted moments and no blackouts between scenes. Rapid and energetic set changes swirl around actors as they walk into new scenes, while they simultaneously change clothes and pick up a prop or two. The eight-actor ensemble cast, despite its large size, is also impressive. Most notably, the cast is able to generate the suspense and thrill of on-air presentations. The improvisatory nature of Duff’s prayers and the response of his fellow newscasters are both convincing and powerful, furthering the authenticity of the performance.

While Belber’s characters initially appear one dimensional and stereotypical, careful and expert characterization allows each to grow into a complex personality. Barnes presents a polished and insincere facade that’s completely believable. At the office and with his family, we see only the shell of a proud and masculine man. It’s not until he faces his own isolation that we begin to notice cracks in his personality. Barnes brilliantly reveals these flaws as he struggles to get closer to his alienated wife and son. Amy Pietz, who plays his ex-wife Lisa, brings a fiery maternal force to her character, refusing to let Duff get away with neglecting her and their son. The real treasure, though, is Brendan Griffin, who plays Duff’s coworker, John Ebbs. Although he acts like a garish goofball on and off the air, Ebbs is actually profoundly depressed. Through his character, Griffin is able to truly delve into the dichotomies of depression and find relief in the human connection he longs for — which may just be the communal religion that Duff is advocating.

The astonishing set, designed by David Rockwell, includes a news desk and many television screens. These TVs are imaginatively used throughout the production, both as the background for the news program and also to represent windows, weather, breaking glass and tall ceilings. But several realistic and detailed set pieces, such as Duff’s father’s kitchen and Puff’s own living room, seem unnecessary and out-of-place. Moreover, the costumes strike a discordant note — they appear dated and stale, like a poor attempt to capture the style of “Mad Men” (2007-present) and the glory of media during that era.

Belber wrote “The Power of Duff” after reading a statistic in Time Magazine that stated 95 percent of Americans believe in God. Touching upon religion in American art is risky, but Belber does so with ease, casually increasing the discourse without imposing personal beliefs. Indeed, his protagonist avoids preaching morals and lessons, instead asking that religion manifest itself in meaningful human connection and community support. In this era, religion is often considered ineffectual or irrelevant, but, as a new wave of “atheist spirituality” rises, many intellectuals are exploring what role connectedness, integrity and mindfulness can play in people’s lives. “The Power of Duff” calls for reflection on how modern-day religion — however that may be defined — can fit into media, daily routines and even art.