Greta (Betsy Aidem) and Tanner (Colleen Litchfield) face off in Matthew Freeman’s The Ask (photo by Kent Mesiter)
THE ASK
the wild project
195 East Third St. between Aves. A & B
Wednesday – Sunday through September 28, $58.59
thewildproject.com
In a two-minute television commercial for the American Civil Liberties Union that has been running since the fall of 2022, comedian, author, and actor W. Kamau Bell explains, “As Americans, there’s one thing we can all agree on: the promise of our Constitution — and the hope that liberty and justice is for all people.” In the ad, Bell, an ACLU ambassador, asks viewers to become members of the civil rights organization for $19 a month, a fee also requested to join No Kid Hungry, the World Wildlife Fund, St. Jude’s, the ASPCA, and other charitable institutions. (The amount is both for tax purposes and perception, keeping it under $20.)
In Matthew Freeman’s stimulating new play, The Ask, making its world premiere through September 28 at the wild project, an ACLU fundraiser is asking for a whole lot more from a longtime donor who is on the fence about her future support of the nonprofit that started in 1920 and “is committed to fight for freedom and the protection of constitutional rights for generations to come.”
Greta (Betsy Aidem) is a wealthy seventysomething widow and lifelong feminist, a successful photographer who lives in Florida and the Upper West Side (and just sold her home in Maine). Tanner (Colleen Litchfield) is an adopted nonbinary millennial who resides in Bushwick and is a gift planning officer for the ACLU.
It’s set in December 2022, five months before the World Health Organization declared the Covid-19 pandemic no longer a public health emergency. The characters’ first discussion is about Tanner’s presence; they’ve replaced Greta’s longtime ACLU contact, Carol, under unclear circumstances. Greta is unhappy that she wasn’t notified of Carol’s departure, nor has she been told the reason, although she suspects Carol was part of recent layoffs, which the ACLU executive director referred to as “right-sizing.”
Tanner dances around the answer, which annoys Greta. It’s a theme that runs throughout the play: Greta feels free to share anything about herself and her views, while Tanner is stiff and reserved, careful what they say about the ACLU and, more critically, about themself as they delve into the First Amendment, hate speech, student debt, the Founding Fathers and slavery, the Supreme Court, hunger, high-speed internet for underserved communities, and reproductive rights. Greta is upset by the number of emails she gets from the ACLU and some members’ references to the Constitution as a white-supremacist document, while Tanner keeps trying to convince Greta that the ACLU’s purpose is as consequential and necessary as ever.
“You do plenty of good in the world,” Tanner says. Greta replies, “Thank you, you’re the one who does good. I just write proverbial checks.” Tanner encourages her, “Well, they matter.” To which Greta shoots back, “Yes yes, you have to say that.”
But the tide turns on Tanner’s inability to say one word, the very term that is most important to Greta.
Tanner (Colleen Litchfield) has an impossible mission on their hands in world premiere at the wild project (photo by Kent Mesiter)
At its core, The Ask is about personal and professional identity. Greta not only speaks her mind but makes her living as a photographer, taking pictures of other people and places that shape her view of the world. Her apartment is cluttered with books piled on and under tables, including art tomes on Vincent van Gogh, Alice Neel, Paul Gauguin, and Ninth Street Women in addition to such feminist and left-leaning literature as Gloria Steinem’s Revolution from Within; Diane di Prima’s Recollections of My Life as a Woman: The New York Years; Amy Goodman and David Goodman’s Standing Up to the Madness: Ordinary Heroes in Extraordinary Times, about what one can do to fight for what they believe in; and Jodie Patterson’s The Bold World: A Memoir of Family and Transformation, about a mother whose toddler tells her that she is not a girl but a boy.
Greta’s cozy, intimate apartment is filled with photographs hung on black-and-white scallop-shell wallpaper, both her own and several taken by Pictures Generation artist Cindy Sherman, who reimagines herself as different personae in cinematic self-portraits that explore gender and identity. Tanner, who is clearly uncomfortable sharing certain personal information with Greta, expresses their admiration of Sherman. “I love her too; I think she’s a scream,” Greta says. Tanner responds, “I think she’s terrifying.”
Tanner is also enamored with a photograph of a dinosaur, which Greta refers to as her self-portrait, an ancient creature surrounded by real life. Tanner points out, “Except for Cindy Sherman. She’s not real life.” Greta, keeping their cat-and-mouse game going, counters, “She’s a little more real than a Brontosaurus.”
The play is intricately directed by Jessi D. Hill (Small, Ushuaia Blue), who makes the most of Craig Napoliello’s almost claustrophobic set, which has a small hallway in the back that leads to the unseen kitchen and bathroom, bringing some kind of respite to the tense proceedings occurring in the study, where Greta, in black pants, a loose-fitting purple blouse, and clogs, sits comfortably in a chair while Tanner, in brown pants, a V-neck sweater, a dark blazer, and sneakers, is rigid and uneasy in an opposite chair. (The costumes are by Nicole Wee, with sharp sound by Cody Hom and bright lighting by Daisy Long.)
Freeman (Silver Spring, Why We Left Brooklyn) writes with a refreshing assuredness, creating dialogue that could have become pedantic and self-serving but instead is through-provoking and, often, very funny even as it deals with serious situations. Tony nominee Aidem (Prayer for the French Republic, All the Way) is energetic and appealing as Greta, a wholly believable feminist who doesn’t want to see everything her generation accomplished just slip away, while Litchfield (The Summoning, The Heart of Robin Hood) stands firm as a much younger individual who has their own vision of the future but cannot say it out loud. (Both actors were in the original Broadway cast of Leopoldstadt, Aidem as Grandma Emilia, Litchfield as Hanna.)
Even at eighty minutes, the play is a bit too long, repeating several points and including one gratuitous monologue, but otherwise it expertly captures the changes that are evolving primarily on the left in today’s society. Greta and Tanner are battling each other instead of the other side, unwilling to compromise their values.
“I imagine in your life. Your individuality is important to you. Asserting your identity, your uniqueness, that’s been important to you. It might have even been a struggle. I don’t want to assume anything, but I imagine that’s true for you?” Greta says, adding, “But you see, I also want to be treated as an individual. As a woman, I mean, as a woman I’ve had to fight against the perception that I am a certain way, that I am defined by all these stereotypes about women.”
Tanner wants to change the subject, understanding that Greta might not like what they have to say — and it’s about a lot more than a charitable donation, whether $19 a month or a much higher figure.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]