Review: The Repertory Theatre of St. Louis' Powerful and Compelling ALL THE WAY

Taking it's name from the campaign slogan Lyndon B. Johnson would utilize for his run for the presidency in 1964, playwright Robert Schenkkan has crafted a brilliant, compelling, and very informative work with ALL THE WAY that picks up right after the assassination of President John F. Kennedy in November of 1963. Schenkkan has actually written another play (THE GREAT SOCIETY) that follows subsequent events in Johnson's life from 1964-1968. But, here the focus is on that tumultuous period when the nation was basically in shock as they witnessed their iconic fresh-faced president being gunned down, and with it their dreams of a "new frontier". However, they didn't realize they were in the hands of a career politician who knew that the road to something more than an "accidental" presidency lay in his ability to make sweeping changes in our society, no matter what the cost. The Repertory Theatre of St. Louis opens their season with a masterful production of this intriguing play, and I think you'll be blown away by revelations that have been glossed over in history books. A very strong cast and crew bring this story to life with amazing results that are thought-provoking and fascinating.

Once Johnson was sworn into office aboard Air Force One, directly following the assassination, he quickly became aware of the limitations the role offered him. But, being a career politician, he decided to reshape the job, utilizing the skills he had honed as a senator. He then set his agenda, enacting and fighting for what would now be considered very liberal policies, but which reflected the drastic need for change in America. And, he went about his task of getting these policies in place by any means possible. If this meant brokering deals, or even using blackmail to get his way, then so be it. As tough as this Texan seemed to be, however, he was far more needy emotionally and vulnerable than he appeared. His stoic and pragmatic public image are in deep contrast with a man driven to succeed, and who often invoked strong arm tactics to make sure he achieved his goals.

Brian Dykstra is phenomenal as LBJ, making the man more than just a caricature, instilling him with an unexpected humanism that actually plays on our sympathies at times. But, he also shows us a man who could charm congressmen with homespun, colorful homilies, while stabbing them firmly in the back. He relied heavily on those around him to keep him grounded, such as Chief Aide Walter Jenkins (a cool and collected Michael James Reed, who also plays William Colmer), and his spouse Lady Bird Johnson (the highly capable Bernadette Quigley who also takes on the roles of Katherine Graham and Katharine St. George). A perfect example of how LBJ operated is shown in his treatment of Hubert Humphrey (a solid Kurt Zischke), a chief author of the Civil Rights Act, who was promised the vice presidency if Johnson was elected in 1964. Robert Vincent Smith is sharp as J. Edgar Hoover, who's also not above stretching the limits of his authority, and John Leonard Thompson as (Robert McNamara), is doggedly pursuiant as he pushes for more involvement in the Vietnam War, thus figuring more prominently in the escalations that would shortly occur in that conflict.

Avery Glymph is also outstanding as Rev. Dr. Martin Luther King, Jr., who finds himself combative and cooperative with LBJ, as they attempt to make major changes in race relations. Glymph along with Ron Himes' sly portrayal of Rev. Ralph Abernathy, an earnest and forthright Richard Prioleau (Stokely Carmichael), and the leader of the "Freedom Summer" project, J. Cameron Barnett (Bob Moses), show us one side of the argument for equality, and the activism needed to make it a reality, while Stephen D'Ambrose (Strom Thurmond) shows us the other side of the coin, eventually switching political parties in reaction to the what he sees as a far too liberal Democratic Party. Jon Shaver (George Wallace) also defiantly acts as an opposing force, and challenges LBJ during the primaries leading up to the 1964 election.

The show features a large supporting cast, and many of them, including some of the actors I've listed above, play multiple parts, managing to make each a neatly delineated character in the process. The rest of the cast consists of: Elizabeth Meadows Rouse, Anderson Matthews, Jerry Vogel, Gary Wayne Barker, Myxolydia Tyler, J. Samuel Davis, and Alan Knoll who all perform admirably.

Steven Woolf directs with considerable skill and panache in bringing this powerful historical piece to vivid life. He's aided in his efforts by James Kronzer's terrific multi-level scenic design, another set of period perfect costumes by Dorothy Marshall Englis, excellent lighting by Rob Denton, effective sound by Fitz Patton, and the interesting projection designs of Matthew Young. This superb crew nicely complements a stellar cast.

The Repertory Theatre of St. Louis has given us plenty of food for thought with this absolutely amazing portrait of vulnerability and determination that characterized the presidency of Lyndon B. Johnson, a true legislative master. The superb ALL THE WAY continues through October 4, 2015, and it's not only highly recommended, but essential viewing for those interested in history and the political process, which still resorts to some of the same chicanery we witness here.

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