In 1939, Communist novelist Lee Ransom wants to publish his book "Let the Red Flags Unfurl" with an uptown publishing company; however, his editors ask that he get rid of three radical characters and add a narrator -- guaranteeing an advance and high sales from the general public.  He agrees.  Many years later, he must decide whether or not to publish the original version.

This is the plot of "The Final Version", a two-act play written by the accomplished playwright Ishmael Reed (a winner of the MacArthur Genius Grant Award).  The play is currently being presented at the Nuyorican Poets Cafe; after company bows the night I attended, Reed fittingly dedicated the work to playwright/poet Amiri Baraka, who passed away last week.

I arrived to the theater in great expectation of what I might experience in this space, which is world famous for the diverse and talented artists it draws.  Under the direction of the leading player, Artistic Director Rome Neal, however, this production fails to explore the playwright's intentions in a meaningful way.

Questions, insults, and Communist theory is thrown around in this verbose play.  Reed seems to want us to connect with Ransom and explore our own actions as they relate to getting ahead or staying true to one's own moral code.  Yet Neal's portrayal of the character made him come across as too conceited -- too unlikable for us to relate to him.  Moreover, while I enjoy being thrown into the proverbial abyss at the beginning of a play, some of this work's historical context and political jargon is perhaps left too opaque for contemporary audiences.

Still I'm moved by many of the performances given by those actors who gave breath to the text -- commanding the space, grabbing my attention, and filling the words with color.  Connie Stewart, in her portrayal of Ruth Ransom, the mother to our protagonist, brings urgency to the play: she is particularly engaging and honest in Act 1, when she shares her worries of her son's new-found political expression.  And in just one scene, Temesgen Tocruray articulately draws the young Ernest Perkins, a character who is prevented by Ransom from receiving a scholarship.

There is something to be said for viewing art more than once; and although I'm not pulling at my shirt to do that for this particular play, I am eager and curious to read more of Reed's extensive body of work.

Performances of "The Final Version" continue through January 19th.  For more information, check out our event listing here: [LinkButton]https://stagebuddy.com/listingdetail.php?lid=16979[/LinkButton]