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Love and politics

By CAROLYN CLAY  |  October 21, 2008

Most of Rothe’s play is set in December of 1974, when John Mitchell was on trial for his role in the Watergate cover-up while Martha, barred from the courtroom, watched from her peach-hued boudoir on New York’s Fifth Avenue, tanked on Tanqueray and “blowing her whistle to the wind.” The piece, which premiered in 2006 at Shakespeare & Company, is almost but not quite a one-woman show whose one woman renders her irrepressible subject a Southern belle slightly beyond her shelf life but hardly cracked — and savvy enough that such reliable journalists as UPI’s Helen Thomas relied on her. Timothy Sawyer sits in for stony John Mitchell, mostly brandishing his pipe behind a picture frame but occasionally emerging to flirt with and then clamp down on and cruelly reject Martha. Although most of Martha Mitchell Calling is an entertaining if cautionary history lesson, it turns tragic at the end, less because Martha gets cancer than because she realizes to her dismay than her husband has chosen to fall not for her effusive charms but on Nixon’s sword.

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ARTICLES BY CAROLYN CLAY
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  •   NO COUNTRY FOR OLD MEN  |  December 01, 2009
    Louis de Rougemont makes James Frey look like a documentarian. A sickly Victorian lad who arose from his cot, knocked around the Southern Hemisphere for a while, and returned to England with a hifalutin new moniker and captivating tales of seafaring perils and aboriginal idylls, he was the subject of a popular serialized autobiography.
  •   LINCOLN YULE LOG  |  November 24, 2009
    Abraham Lincoln, as he said in his second inaugural address, yearned to "bind up the nation's wounds." Since the great man was assassinated little more than a month later, he didn't quite get around to it. No worry, Paula Vogel has taken over the job with A Civil War Christmas: An American Musical Celebration.
  •   DODGING DEATH  |  November 18, 2009
    Even the sweetest life can shatter in an instant, sending you through the looking glass like Alice. For the euphoric heroine of Craig Lucas's 1988 fable of holiday festivity and arbitrary mayhem, Reckless the moment of reckoning comes when her husband tearfully confesses, on Christmas Eve, that he has taken out a contract on her life.
  •   MARS VS. VENUS  |  October 28, 2009
    It’s been 21 years since Speed-the-Plow first milked the cravenness of Hollywood and the self-described “whores” who turn its celluloid tricks. But David Mamet’s scathing, staccato comedy has held up at least as well as Madonna, who made her Broadway debut in the original 1988 production.
  •   ONLY CONNECT  |  October 20, 2009
    Usually when a cell phone goes off in the theater, you want to kill someone. In the case of Dead Man’s Cell Phone , that’s not necessary.

 See all articles by: CAROLYN CLAY

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