"Lincoln's Children" by Fortune's Fool Theatre at the Crane Theater Studio

'Tis the season for political plays. First, the inspiring story of Texas governor Ann Richards, reminding us that the government works for us and we need to hold them accountable. Next, Fortune's Fool Theatre's world premiere production of Lincoln's Children, historical fiction about arguably our greatest president (but not without flaws), reminding us that we need to be constantly vigilant in the ongoing fight for justice and equality that Lincoln (and countless others) gave his life for. It's a well-written play (that would be a great 90-minute-no-intermission show, if not for the intermission) that ties history to the present, well executed by Fortune's Fool in the intimate space of the Crane studio theater. They've only got a handful of performances left, so get your tickets soon (because "intimate space" means sellouts!).

Lincoln's Children reminds me a little bit of my favorite play Arcadia, in that it tells a story in the present of academics trying to figure out a mystery in the past, and then we flash back to the past to see the mystery unfold. The mystery here is whether or not Lincoln owned slaves and/or if he had a child with a Black servant living in his home. According to history neither of these things is true, but playwright Mike McGeever's rumination on the topic is a fascinating way to explore issues of race, class, gender, privilege, and power that are very much still in play today.

modern-day Montgomery (Jeremy Motz) and 19th century 
Chloe (Kyra Richardson, photo by Scott Pakudaitis)

The story begins with graduate student Chloe (Kyra Richardson) applying for, and getting, an assistant job with Professor Montgomery Mathers (Jeremy Motz), the preeminent Lincoln scholar of the day. He's a bit stuck in his search for Lincoln and an idea for his next book, and Chloe offers a new perspective: her ancestor, also named Chloe, worked in Lincoln's home. Family stories passed down over generations paint a picture of a relationship, and possible child, and Chloe is determined to find proof. In between scenes of this unfolding story, in which professor and student disagree about methods and other things, we see scenes of Lincoln (Nicholas Nelson) and his wife Mary (Ariel Pinkerton) pre-presidency. Into their home comes Chloe (also played by Kyra), with whom Lincoln strikes up a complicated friendship. The "truth" of this story remains a little murky, but what's clear is the legacy left by President Lincoln, and humble servant Chloe.

Duck Washington (who also directed the most recent production of Arcadia that I've seen, with a couple of the same actors) directs the play in a way that flows well from present to past and back again, scene transitions happening smoothly to well-chosen music of the present and various past eras (sound design by Christy Johnson). The lighting design (by Ariel Pinkerton) also help us with the transitions, fading to almost complete blackout. The seven-person cast (also including Dawn Krosnowski as Montgomery's agent, Winifred Froelich as a research librarian, and Scott Gilbert as a laughing racist colleague) is large for this space, but it never feels crowded; the play is a series of two- to three-person scenes. Everyone in the cast is great, very believable at this close proximity.

I'm not sure if it was an intentional choice or an accident of scheduling that placed this play in the studio space instead of the cavernous main performance space at the Crane, but it makes for a much more intimate and affecting experience. You feel like you're in the room with Lincoln, Chloe, and the Professor. A wooden floor is laid on the floor of the black box space, with two rows of chairs on three sides of it. A large wooden table dominates the space, rotated to show when we're moving from Lincoln's dining room to a research desk. Modern characters are dressed in business casual attire, with detailed period costumes for the past characters (including skirts so full people sitting in the front row might get brushed by them). This also contributes to the authentic feeling of the story (set design by Keven Lock, costume design by CJ Mantel).

As Chloe says in the play, "we are who we were." It's vital to remember our past, remember where we've been, as we endeavor to move forward to a better future. A timely story as we prepare to vote in a historic election (but aren't they all these days?).

See Lincoln's Children at the Crane Theater through September 22, and visit mnvotes.gov to find out how you can vote and make your voice heard, and continue the legacy of Lincoln (or not).