Abe Lincoln in Illinois

The last time Lincoln Center Theater decided to second-look a "lost" show from the '30s, the "neglected" writer was Cole Porter, the attraction was a revival of "Anything Goes," and the payoff was a smash hit, a long run and three Tony Awards.

With:
Abe Lincoln - Sam Waterston Ann Rutledge - Marissa Chibas Judge Bowling Green - David Huddleston Ninian Edwards - Robert Westenberg Joshua Speed - Robert Joy Seth Gale - Tom Wiggin Nancy Green - Joan MacIntosh William Herndon - David Aaron Baker Elizabeth Edwards - Ann McDonough Mary Todd - Lizbeth Mackay Stephen A. Douglas - Brian Reddy

The last time Lincoln Center Theater decided to second-look a “lost” show from the ’30s, the “neglected” writer was Cole Porter, the attraction was a revival of “Anything Goes,” and the payoff was a smash hit, a long run and three Tony Awards. With its lavish and faithful mounting of Robert E. Sherwood’s 1938 “Abe Lincoln in Illinois,” the company takes a somewhat greater risk, and the payoff is considerably more limited. This is a fine production and a first-rate vehicle not only for Sam Waterston in the title role but for a huge roster of character actors.

But while the play’s 12 scenes unfold with cinematic finesse, nothing else director Gerald Gutierrez and his design team have in their bag of tricks can make the play — which won Sherwood the second of his three Pulitzers and launched the Playwrights Company of which he was a founding member — seem any less dated. The writing, particularly in the early scenes depicting Lincoln’s youth in New Salem, Ill., is wooden and declamatory; lines like “This is the Rutledge Tavern…” place the action, to be sure, but they focus a listener’s attention on the creaky dramaturgy.

To attribute these problems to the style of a different era doesn’t work; polished, unself-conscious writing was as valued then as it is now. But it’s also true that Sherwood had an agenda in drawing parallels between Lincoln and Roosevelt, in bolstering the notion of America as the bright hope of the world as Hitler was devouring Europe, and in that, “Abe Lincoln in Illinois” has more in common with the baldly patriotic movies coming out of Hollywood at the time than with Broadway.

Nevertheless, Sherwood’s hero is no stick figure. The writer didn’t shy away from Lincoln’s moodiness, indecision and the fear of failure; these all offer shading to the portrait of a moral giant. Early on, Lincoln sees 12 slaves chained together on a boat en route to Vicksburg, Miss., where they were to be sold; the encounter haunts him more than any abstract debate could.

As a nonprofit company, part of Lincoln Center Theater’s public trust is to present productions like this — a mainstay of resident theaters outside New York — and that it has put so much force of talent behind “Abe Lincoln” is commendable.

Rough and charming, a raspy croak in his voice, Waterston works hard at the image of Lincoln as awkward and uncomfortable in his own skin — traits Lincoln shrewdly turned to his advantage as the non-politician’s politician, and which Waterston makes appealing. There are fine performances from Lizbeth Mackay as Mary Todd (though Ann McDonough nearly steals the show as her pouty sister, Elizabeth Edwards); David Huddleston as Lincoln’s mentor, Judge Bowling Green; Robert Westenberg and Robert Joy as the pros who groomed Lincoln; David Aaron Baker as his law partner; and Brian Reddy as a somewhat foppish Stephen A. Douglas.

John Lee Beatty’s designs for nearly as many settings as there are scenes are models of simplicity, and Beverly Emmons lights them with her usual broad and reliably tasteful palette. Jane Greenwood’s costumes seem admirably lived-in by the characters wearing them.

If none of this makes a convincing case for “Abe Lincoln in Illinois” as a classic, it does remind us that theater can have purposes beyond brainless entertainment, and even at that, it’s never boring.

Abe Lincoln in Illinois

Vivian Beaumont Theater, New York; 1,087 seats; $45 top

Production: A Lincoln Center Theater presentation of a play in three acts (two intermissions) by Robert E. Sherwood. Directed by Gerald Gutierrez.

Creative: Sets, John Lee Beatty; costumes, Jane Greenwood; lighting, Beverly Emmons; original music, Robert Waldman; sound, Guy Sherman/Aural Fixation; hair, Angela Gari; casting, Meg Simon; general manager, Steven C. Callahan; production manager, Jeff Hamlin; artistic director, Andre Bishop; executive producer, Bernard Gersten. Opened, reviewed Nov. 29, 1993.

Cast: Abe Lincoln - Sam Waterston Ann Rutledge - Marissa Chibas Judge Bowling Green - David Huddleston Ninian Edwards - Robert Westenberg Joshua Speed - Robert Joy Seth Gale - Tom Wiggin Nancy Green - Joan MacIntosh William Herndon - David Aaron Baker Elizabeth Edwards - Ann McDonough Mary Todd - Lizbeth Mackay Stephen A. Douglas - Brian ReddyAlso with: Nesbitt Blaisdell, Cameron Boyd, Ralph Buckley, Robert Burke, Kevin Chamberlin, Bob Freschi, Jason Fuchs, Charles Geyer, John Michael Gilbert, George Hall, J.R. Horne, Robert Jimenez, Reese Madigan, Charlotte Maier, Peter Maloney, David Manis, John Newton, Michelle O'Neill, P.J. Ochlan, Bo Rucker, Carol Schultz, Jeffrey Stern, Barton Tinapp. ORIGINAL PRODUCTION Drama in three acts, presented at the Plymouth, Oct. 15, 1938, by the Playwrights Company; writtten by Robert E. Sherwood; Raymond Massey featured; staged by Elmer Rice; $ 3.30 top. Able Lincoln - Raymond Massey Ann Rutledge - Adele Longmire Judge Bowling Green - Arthur Griffin Ninian Edwards - Lewis Martin Joshua Speed - Calvin Thomas Jack Armstrong - Howard Da Silva Seth Gale - Herbert Rudley Nancy Green - Lillian Foster William Herndon - Wendell K. Phillips Elizabeth Edwards - May Collins Mary Todd - Muriel Kirkland Stephen A. Douglas - Albert Phillips

More Legit

  • Beau Willimon podcast

    Stagecraft Podcast: Beau Willimon on How Trump Changed 'The Parisian Woman' (Listen)

    The last time Lincoln Center Theater decided to second-look a “lost” show from the ’30s, the “neglected” writer was Cole Porter, the attraction was a revival of “Anything Goes,” and the payoff was a smash hit, a long run and three Tony Awards. With its lavish and faithful mounting of Robert E. Sherwood’s 1938 “Abe […]

  • The Minutes

    Chicago Theater Review: 'The Minutes' by Tracy Letts

    The last time Lincoln Center Theater decided to second-look a “lost” show from the ’30s, the “neglected” writer was Cole Porter, the attraction was a revival of “Anything Goes,” and the payoff was a smash hit, a long run and three Tony Awards. With its lavish and faithful mounting of Robert E. Sherwood’s 1938 “Abe […]

  • D.C. Pre-Broadway Review: 'Mean Girls'

    D.C. Pre-Broadway Review: 'Mean Girls'

    The last time Lincoln Center Theater decided to second-look a “lost” show from the ’30s, the “neglected” writer was Cole Porter, the attraction was a revival of “Anything Goes,” and the payoff was a smash hit, a long run and three Tony Awards. With its lavish and faithful mounting of Robert E. Sherwood’s 1938 “Abe […]

  • School Girls, or the African Mean

    Off Broadway Review: 'School Girls, or the African Mean Girls Play'

    The last time Lincoln Center Theater decided to second-look a “lost” show from the ’30s, the “neglected” writer was Cole Porter, the attraction was a revival of “Anything Goes,” and the payoff was a smash hit, a long run and three Tony Awards. With its lavish and faithful mounting of Robert E. Sherwood’s 1938 “Abe […]

  • Escape to Margaritaville review

    Pre-Broadway Review: Jimmy Buffett Musical 'Escape to Margaritaville'

    The last time Lincoln Center Theater decided to second-look a “lost” show from the ’30s, the “neglected” writer was Cole Porter, the attraction was a revival of “Anything Goes,” and the payoff was a smash hit, a long run and three Tony Awards. With its lavish and faithful mounting of Robert E. Sherwood’s 1938 “Abe […]

  • Kevin Spacey Sexual Assault

    Old Vic Theater Logs 20 Complaints About Kevin Spacey, Pledges to Improve Accountability

    The last time Lincoln Center Theater decided to second-look a “lost” show from the ’30s, the “neglected” writer was Cole Porter, the attraction was a revival of “Anything Goes,” and the payoff was a smash hit, a long run and three Tony Awards. With its lavish and faithful mounting of Robert E. Sherwood’s 1938 “Abe […]

  • The Drama League Expands DirectorFest to

    The Drama League Expands DirectorFest

    The last time Lincoln Center Theater decided to second-look a “lost” show from the ’30s, the “neglected” writer was Cole Porter, the attraction was a revival of “Anything Goes,” and the payoff was a smash hit, a long run and three Tony Awards. With its lavish and faithful mounting of Robert E. Sherwood’s 1938 “Abe […]

More From Our Brands

Access exclusive content