By Elyse Trevers
Imagine there are alternative universes. That’s what the terrific actress Laurie Metcalfe suggests in “Hillary and Clinton,” a new 90-minute play by Lucas Hnath (“Doll’s House, Part 2”). Metcalfe reunites with Hnath having won the Tony for her portrayal as Nora. Here she plays a politician named Hillary who is in the primaries running for the presidency against a politician named Barack.
Set in New Hampshire in 2008, Hillary is not doing well in the primaries and is getting discouraged. Consequently, her fundraising is lagging as well. Her campaign manager Mark (Zak Orth) makes her promise that she will not contact her husband Bill for help. Unsurprisingly, as soon as Mark leaves, she calls Bill who rushes to her side.
In the next scene, Bill (John Lithgow) has arrived, energetic and ready to take charge. Lithgow has the affability, arrogance and confidence of a politician. Hillary has told him to stay away from the campaign so he tells her he misses her and is lonely. It only takes a few moments for the two to fall into old patterns and begin to argue.
Although it’s obvious who they portray, there’s no makeup, accents, distinctive clothing or attempt to make them resemble the Clintons. In fact, the stage directions instruct the performers to imagine that the audience has never heard of the Clintons (tall order). Lithgow wears jeans when he arrives and running shorts the next day. Metcalfe is in sweats and slacks and does nothing to change her own short straight brown hair.
It’s the relationship that is intriguing, and although we aren’t privy to the true relationship between the Clintons, we aren’t surprised by what we see on stage. It feels realistic, especially when Hillary notes that people wonder why she hasn’t divorced him. Although the play is “fiction,” it’s what we expect their relationship would be like. She feels that she has supported him and says now it is “her turn,” but she needs him. Yet he basically sabotages her with his philandering and the dubious contributors to his foundation. He is often a liability. In fact, when he and Mark argue, Mark asks what he’ll be remembered for. However, Bill comes across as likable and Hillary is perceived as cold. Bill suggests that she show emotion to appear more human. Yet Metcalfe is not cold; she is frustrated and angry.
The stage is practically bare; it is supposed to be a hotel room, but all we see is a desk chair and mini refrigerator. Realistically, the characters keep eating. Clinton notes that this was the same room they stayed in when he ran years before, suggesting that, after a while on the campaign trail, all the rooms must be alike.
By the end, Metcalfe becomes the narrator again. Today’s audience has the advantage of historical hindsight. Although the play was actually written in 2008 when the playwright fully expected a different path for Hillary, we know how it all turns out.
Director Joe Mantello is able to get good performances from his actors. It helps that Metcalfe is a consummate actress, either comedic or serious, and Lithgow and Metcalfe ease into their relationship naturally. Metcalfe herself is so charismatic that she commands our attention and we are rooting for her. One might also assume that anyone who bought a ticket to the show is also somewhat pro-Hillary.
“Hillary and Clinton” is interesting theater because of what’s not there. There’s no artifice or lavish setting. It’s just some imagination and skilled performers. The play deals with double standards in politics but, ironically, then I checked out my Playbill. It’s a picture of “Bill” sitting in a chair eating pizza. Even in her play, he upstages her. Where’s Hillary?
