Fighting Words: When Nancy Met AOC (Review)
Generational and ideological differences cause riffs in the House in Mario Correa's sharp, contemporary "N/A."
“Well-behaved women rarely make history,” goes the oft-quoted phrase. But what happens to the ones who do leave indelible marks on cultural and political landscapes? In addition to making history, they make excellent subjects for drama.
Mario Correa must agree. The former congressional aide turned playwright has given stage treatment to two of the most recognizable names in Washington in his Off-Broadway play, N/A. Despite the show poster’s depiction of Nancy Pelosi (Holland Taylor) and Alexandria Ocasio-Cortez aka “AOC” (Ana Villafañe), Correa suggests in the program notes that the initials go beyond specific individuals. Instead, they are a study of ideas and ideals.
Yet costume designer Myung Chee Ho has adorned Taylor and Villafañe with such similar outfits and make-up as their real-life counterparts that it’s difficult not to believe that we’re witnessing biographical slivers of these two political powerhouses.
N/A opens with the 2018 midterm elections. Bronx-born AOC has just been elected as the U.S. Representative to New York state, the youngest woman elected to congress. It was a win that virtually no one predicted, especially seasoned House Speaker Pelosi. Meeting in Pelosi’s office for the first time, the pair get off to a rocky start.
“Madam Leader… I know he was your friend,” AOC says of Joe Crowley, the Democratic incumbent she defeated. “He was your right-hand man — the guy you wanted to succeed you! A man who wouldn’t even deign to debate me — who sent a woman who looked like me to debate me, some random ‘brown lady’ from the City Council who didn’t even know his positions on the issues! But last night, we met a machine with a movement.”
Pelosi insists that it isn’t personal. Perhaps they both wish to believe this, but numerous articles and leaks from D.C. insiders, some of which Correa used for the play’s inspiration, suggest that there was more often personal friction between them that often coincided with their approaches to problem-solving.
For AOC, progress means getting to the root cause. “Our country’s problems are systemic. Not by accident — by design. Foundational inequities built into the organizing principles of this nation. And until we reckon with them head-on, it doesn’t matter how many elections we win.”
Pelosi’s approach is to work within the system — after all, she is the one with the networks, connections, and influential friends who can get things done. She chides many of those in AOC’s generations who are mere “Navel gazers with wounded feelings, precious space and a bottomless thirst for attention.”
Correa gives Taylor and Villafañe savory dialogue with plenty of snappy jabs and it’s a thrill to watch these two duke it out– all the way through the 2022 midterms. He also deeply humanizes the two individuals. All too often, our knee-jerk reactions to politicians stem from something they did or did not do.
Consequently, one issue forms our whole opinion of who they are. We tend to forget that many of them have put in years of hard work to achieve their status, and, in spite of perceived self-interests, they are doing the best they can to serve their constituents and fight for their values. Here, Correa delves briskly into the histories of Pelosi and AOC, painting a full portrait of their backgrounds, battle scars, bruises, and triumphs.
Taylor delivers another winning performance, always keeping her cool but unquestionably in charge and in control. Villafañe’s AOC is spot-on, right down to the mannerisms and vocal inflections.
Director Diane Paulus keeps N/A moving at a quick clip and, fortunately, she has two first rate actors who make the script crackle. At moments, Correa’s writing sounds a bit didactic and preachy, but not enough to weigh down the sentiments and overall ideas.
Coincidentally, N/A comes at a time when Democrats are at odds with each over the next steps for the Presidency. Rarely are major political parties fully unified, and yet we continue to work for what we believe is the best way to solve our most challenging problems. N/A forces us to ask — even within our own collectives — where idealism ends and pragmatism begins.
N/A (★★★★☆) runs through August 4 at the Mitzi E. Newhouse Theater, 150 West 65th St. in New York City. Tickets are $72 to $200. Visit www.natheplay.com.
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