A provocative blend of humor and history that challenges and delights in equal measure.
In the heart of New York’s Financial District, amidst the lingering chill of a February day softened by an unseasonable warmth, the Perelman Performing Arts Center opened its doors for a matinee performance of “Between Two Knees.” This production, originating from the esteemed Oregon Shakespeare Festival—a detail that kindled a personal excitement in me, given my Oregonian roots—marks a daring blend of historical narrative and comedic prowess within the center’s suave, newly inaugurated spaces.
The play itself is a concoction of genres, skillfully marrying slapstick humor and light comedy with profound historical insights, generational trauma, and genuine emotional depth. Spanning an ambitious timeline from the era preceding World War II to the height of the American Indian Movement, “Between Two Knees” integrates musical elements with original songs and choreography, crafting a multidimensional theatrical experience. Early on, the audience is invited to play an audacious game show segment, “Wheel of Indian Massacres,” which sets the tone and effectively encapsulates the play’s unique approach to confronting and satirizing the tragedies and resilience of Native American history.
As the narrative unfolds, centered around the lives of Isaiah and Irma, the production momentarily veers towards chaos in its second act, yet it remains anchored by its core story and thematic ambitions. The ensemble’s comedic brilliance is undeniable, with Rachel Crowl’s versatile performance standing out as particularly memorable. Crowl, with a commendable range, transitions seamlessly between roles as diverse as a martial arts-performing priest, a warfront soldier, and a Californian yogi, infusing each character with a distinct blend of humor and depth.
The production value of “Between Two Knees” is notably impressive. The play cleverly adopts the guise of a makeshift traveling roadshow, aligning with its thematic elements, while showcasing sophisticated theatrical techniques both on and off stage. This approach not only enhances the narrative’s immersive quality but also highlights the creative team’s adeptness in leveraging the medium to its fullest potential.
At its core, “Between Two Knees” grapples with the intersection of Native American identity and the American dream amidst the backdrop of generational trauma. The play’s ability to navigate these complex themes with both levity and gravity is commendable. It leans into the identities central to its narrative without relying solely on its virtuous intentions, standing firmly as a work of comedy that resonates on multiple levels.
“Between Two Knees” is a bold, innovative, and deeply engaging production that exemplifies the power of theater to entertain, educate, and provoke thought. Its premiere at the Perelman Performing Arts Center not only heralds a promising inaugural season for the venue but also underscores the enduring relevance and adaptability of theatrical art in addressing the nuances of history and identity.
