Like the Mr. Rogers of Presidents, Jimmy Carter was a man who gently spoke the truth even when it wasn’t sunny news. Susan Lambert Hatem examines such a heartfelt and impactful moment from 1979 in her new work Confidence (and The Speech) now playing at Theatre Row. That Carter is warmly portrayed by April Armstrong, an African American actress of… shall we say limited stature… adds a brilliant and powerful punch. Placing Carter’s consciousness in such an unlikely body forces us to focus on the only things that matter: the president’s heart and mind. Whatever else can be said of our 39th president, he always tried to do the right thing starting from the time he sold his tiny peanut farm so as not to have any appearance of impropriety.
The set-up for Ms. Armstrong’s performance begins at present day Baynard University. Professor Cynthia Cooper has just wrapped up her session when she is approached by Jonathan (an outstanding Zach Fifer) who has been monitoring her class. He’s learned that she was an intern assigned to Camp David just prior to Carter’s infamous Crisis of Confidence speech. This address to the nation is consider by some to have been farsighted, though others see it as the moment Carter signed his fate as a one term Commander in Chief. Cynthia agrees to tell Jonathan everything about that significant time from her viewpoint on the condition that in her story it is she who is President Carter and that Jonathan walk a mile in her heels as Cynthia. With the assistance of grey suited dressers, the two take on their new roles and corresponding wardrobe skillfully designed by Vanessa Leuck. Fifer also captures Armstrong’s manner and cadence.
Their transformation is one of many clever moments orchestrated by director Hannah Ryan in the challenging layout of Theatre One. She and the entire female creative team — Brittany Vasta (Scenic Design), Christina Watanabe (Lighting Design), Emma Wilk (Sound Design), S. Katy Tucker (Projection Design), Deb Gaouette (Properties), Karla Garcia (Movement Direction), Bobbie Zlotnik (wigs) as well as Ms. Leuck — deserve a round of applause for developing such a slick production on a limited budget.

Mark Coffin, Stephen Stout, Ross Alden, April Armstrong; Photo Credit/ Russ Rowland.
All the well known characters from the Carter administration are well drawn including Walter “Fritz” Mondale (Mark Coffin given little to work with just like a real Vice President), Hamilton Jordan (a suave Ross Alden), Jody Powell (appropriately brusk James Penca), Rick Hertzberg (a measured Imran Sheikh) and Pat Caddell (Stephen Stout stopping just short of Jack Black-ness.) But though this remains a story dominated by men, it is the voices of the women that are amplified in this retelling. We see how the strong bond with her husband gave Rosalynn (a gracious Sarah Dacey Charles) a special place in the administration. And we are introduced to Sarah Weddington (a too soft, too fast Abigail Ludrof) whose work on behalf of women’s issues influenced many, including Cynthia.
Confidence (and the Speech) provides an immensely satisfying opportunity to consider the pressing issues of climate change, equal rights, and basic decency in politics through the lens of a deeply invested observer. Performances of this 100 minute gem continue through December 7. Shyer audience members should be aware that if they answer the pollster making the rounds before curtain that, in a risky move by the playwright, they will be called upon to speak during Carter’s Town Hall. Tickets are priced $49-$69 ($89 premium) and can be purchased at www.confidenceandthespeech.com or at the Theatre Row Box Office (410 W. 42nd Street between 9th and 10th Avenues.)
Halfway Bitches Go Straight To Heaven
No one creates moments that are simultaneously unsettling and humorous quite like Stephen Adly Guirgis. Halfway Bitches Go Straight to Heaven is his first play since being awarded the Pulitzer in 2015 for Between Riverside and Crazy. This new work is a snapshot of the struggling residents of a New York City halfway house, surrounded by an unwelcoming neighborhood and staffed by those whose lifestyles aren’t much healthier. It’s a sprawling script with over a dozen main characters to track. Many of the transactional relationships include elements of genuine affection and the ride is a profound one. Ultimately, though, it is not so much a tapestry as a sewing kit with each thread slightly touching the one beside it.
As the play opens, a group session is in progress. This initial conversation hits many predictable beats — drug use, sexual exploitation, and abuse — but also provides a quick introduction to the characters with whom we’ll spend the next three hours. We learn Queen Sugar (Benja Kay Thomas) has gotten caught up in an Amway-style pyramid scheme while Munchies (Pernell Walker) is preoccupied with Nigerian caregiver Mr. Mobo (Neil Tyrone Pritchard). There are glimpses of Wanda Wheels’ (Patrice Johnson Chevannes) elegance, the stranglehold that mentally ill mother Sonia (Wilemina Olivia Garcia) has over her bright daughter Tiana (Viviana Valeria), and the familiar relationship pattern fragile Bella (Andrea Syglowski) is recreating with lesbian in command Sarge (Liza Colón-Zayas). Always quick to say, “no,no,no” is Rockaway Rosie (Elizabeth Canavan). Taking center stage at the top is the clever rapper Little Melba Diaz (Kara Young). In the corner is morbidly obese Betty (Kristina Poe) whose surprise connection and subsequent blossoming is a highlight. And on the edge (and on edge) is the transgendered Venus Ramirez (a glorious Esteban Andres Cruz) a ferocious voice for those who insist on their rightful place. That list doesn’t include the rest of the staff compassionately portrayed by Victor Almazar, David Anzuelo, Sean Carajal, Molly Collier and Elizabeth Rodriguez.
Elizabeth Canavan ( Rockaway Rosie ), Liza Colón – Zayas ( Sarge ), Kara Young ( Lil Melba Diaz ) and Pernell Walker ( Munchies ). Photo Credit/ Monique Carboni.
As with other Guirgis plays, a subtle but clear picture of the outside world is also drawn. The city’s system is failing and the shortages of both supplies and care are making these lives unnecessarily challenging. A flock of goats tending the grass in a park uptown receives more devotion and support than any of the humans who are simply looking for a chance.
To hold all these tales, a skeleton of the tenement house dominates the set. The sparsely decorated central room of Narelle Sissons’ design also represents the office of the dedicated and overworked manager and occasionally the bedroom of an occupant. The area between the first row and the stage serves as the surrounding alleyways. Director John Ortiz places much of the action on the house front steps audience left and a bench audience right making the viewing experience a bit like a tennis match. Additional focus is achieved with lighting design by Mary Louise Geiger while the mood rises and falls with sound and compositions by Elisheba Ittoop.
Haunting and moving, Halfway Bitches Go Straight to Heaven is like taking in a gallery filled with the faces of those whom New Yorkers breeze past every day. Though their full stories are not on the display, the images will sear into you. Note that the material is strictly adult, containing nudity and simulated sex and drug use. The limited engagement co-produced by LAByrinth Theater Company has already been extended through Sunday, January 5. Regular tickets begin at $70 and are available online at atlantictheater.org, by calling OvationTix at 866-811-4111, or in person at the Linda Gross Theater box office (336 West 20th Street between 8th and 9th Avenues).