a timely political comedy
by Russell Lees
Run Time: 90 minutes, no intermission.
The night before Richard Nixon announced his resignation from the Presidency, he summoned Secretary of State Henry Kissinger to meet with him in the White House. What happened behind those closed doors will never be known, but playwright Russell Lees takes us on a journey through his own interpretation. Reflecting on political events that are strikingly similar to those faced today, Nixon’s Nixon questions whether the American Presidency is truly an office for leadership, or simply an opportunity to hold power.
JEREMIAH KISSEL* returns to New Repertory Theatre after performing in Fiddler on the Roof, Broken Glass, The King of Second Avenue, Imagining Madoff, Rosencrantz & Guildenstern Are Dead, Twelfth Night, and Hard Times. Last season in Boston he also appeared in King Lear, Ulysses on Bottles, and Exposed. Screen credits include The Town, The Fighter, The Great Debaters, Stronger, and Joy. He is the recipient of two Elliot Norton Awards (1990, 2014), two IRNEs, and the Elliot Norton Prize for Sustained Excellence (2003).
JOEL COLODNER* returns to New Repertory Theatre after performing in Regular Singing, Freud’s Last Session, Imagining Madoff, The Elephant Man, Three Viewings, and Indulgences. Other area credits include Sorry and That Hopey Changey Thing (Stoneham Theatre); Sweet and Sad (Gloucester Stage); It’s a Wonderful Life, Glengarry Glen Ross, and Mrs. Whitney (Merrimack Repertory Theatre); Our Town (Huntington Theatre Company); The Chosen and My Name is Asher Lev (Lyric Stage Company); The Light in the Piazza (SpeakEasy Stage Company); and numerous roles with Actors’ Shakespeare Project. Regional credits include Streamers, Comedians, and Hamlet (Arena Stage); The Rainmaker (Guthrie Theatre); An American Clock, Measure for Measure, and Wild Oats (Mark Taper Forum); The Threepenny Opera (Repertory Theatre of St. Louis); and The Seagull (Pittsburgh Public Theatre). Off-Broadway credits include How I Learned to Drive (Vineyard Theatre). Broadway credits include work with the Acting Company and Phoenix Theatre. Television credits include Moonlighting, Remington Steele, Eight is Enough, Highway to Heaven, St. Elsewhere, 21 Jump Street, Cagney and Lacey, and LA Law. Mr. Colodner earned his BA from Cornell University and MFA from Southern Methodist University. Originally from New York, he resides in Portsmouth, NH.
Elaine Vaan Hogue (Director) is a director, actor, and teacher. Previous productions at New Repertory Theatre include directing Baltimore, The Amish Project, Imagining Madoff (Elliot Norton nominee for Outstanding Production), The Kite Runner, and co-curating the inaugural Next Rep Black Box Festival in 2014. Regional directing credits include A Disappearing Number (URT @ Central Square Theater); Metamorphosis (Boston Center for American Performance); Walking the Volcano (Boston Center for American Performance/Boston Playwrights’ Theatre); Crave (Nora Theatre Company); Thin Air: Tales from a Revolution (Kansas City); Infinity’s House (Majestic Theatre); Fen (New Theatre); The Penelopiad, Execution of Justice, Lizzie Stranton, The Trestle at Pope Lick Creek, The Other Shore, Angels in America, Three Sisters, Pains of Youth, Polaroid Stories, Marisol, and many others (Boston University). As an actor she has performed in The Road to Mecca (Boston Center for American Performance); Creation: Mythic Weavings (Women on Top & Magdalena USA); When Jennie Goes Marching (Olney Theatre & Spontaneous Celebrations). She is a member of the Magdalena Project, an international network of women in contemporary theatre, and is a participant in an international cyber-performance group collaborating in All the Better To See You With (Odin Teatret), MagFest KISS (Amsterdam), trans-hack-feminist UpStage Jam (Eclectic Tech Carnival). Ms. Vaan Hogue serves as Program Head of Theatre Arts at Boston University. Originally from Los Angeles, she resides in Central Massachusetts.
Afsoon Pajoufar makes her Boston Center for American Performance and New Repertory Theatre debut. Boston area credits include Cabaret, ‘Tis Pity She’s a Whore, and Rosencrantz and Guildenstern are Dead (Boston University). Film credits include Ruined, Zoya, Remembering the Pentagons, and Nar. She received a BA in Painting from the Azad Art and Architecture University of Tehran and is currently pursuing an MFA in Scenic Design at Boston University. Originally from Tehran, Iran, she currently resides in Allston.
* Member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States
“Given the constraints and limitations of a typical two-hander, [Vaan Hogue] succeeds in keeping the play from being too static or preachy, necessitating that these two consummate professional actors present credible portrayals of all-too-familiar larger-than-life historical…
“Director Elaine Vaan Hogue keeps the two old pros coloring within the lines, and their portraits of the iconic characters stay grounded as events become ever more chaotic.”
“As Nixon, Jeremiah Kissel is exhilarating and exhausting. He is all twitches and staccato gestures, one minute an overgrown child and the next, a raving, paranoid fighter. “
“[Elaine Vaan Hogue] wisely eschews employing stereotypical caricatures, relying instead on the suggestion of the posture and bearing of the historical figures.”
“Kissel and Colodner deliver on those high expectations as a desperate President Richard M. Nixon and a self-serving Secretary of State Henry Kissinger in the engrossing New Repertory Theatre production of Nixon’s Nixon.”