In this review on the Huffington Post, David Finkle contextualizes the current New York Theatre Workshop peformance of Top Secret: The Battle for the Pentagon Papers within the recent ascent of staged documentaries, noting:

. . . we’re living in the age of the stage documentary. . . . The intent behind these stage documentaries is to inform audiences on the truth behind significant events while appearing to be more entertaining than actual newsroom accounts.

About Top Secret, Finkle highlights several “nuggets” found in the show that “the concerned citizen doesn’t want to be without,” including:

. . . [the] story of how The Washington Post, under the command of publisher Katharine Graham (Kathryn Meisle) and editor Ben Bradlee (Peter Strauss), sought successfully to obtain a copy of the purloined artifact and to publish its contents after The New York Times had been stopped by court order.

. . .

[the story of] a court case won as the direct result of the astonishing memory of Post reporter George Wilson (Matt McGrath) . . . [and] Bradlee’s determination to get his hands on the Pentagon Papers and to publish as much of it as he and staff warranted vital for readers’ enlightenment.

Although noting that Post editor Bradlee supported publication in part, of course, protect the public’s right to know, Finkle is also finds informative the play’s dramatization of Bradlee’s other compelling motivation: to defeat the “humiliation of being scooped by The New York Times on what was essentially a Washington story.”

As Finkle says:

He was going to find a way to right the imbalance, and he did. In other words, in his campaign there’s the element of “boys with their toys.” Intriguingly, that’s not too far removed from the king-of-the-mountain games being played by Nixon and his coterie in the Oval Office. And just maybe those apparently unavoidable male inclinations explain why the situations leading to the Pentagon Papers disclosures served in no way as a deterrent in, say, the George W. Bush administration, where men at their power maneuvers thought little or nothing of lying as a means to justify their long-planned ends.

While applauding it for raising these important questions and modern day resonances, Finkle claims that documentary theater is not really “theater.”  As he puts it: “Although billed as plays, these theatrical entries aren’t that. They’re news reports outfitted with theatrical accoutrements. . . ”

What do you think?  Is a documentary play based on real events and transcripts, with actors portraying real people, not really a “play”?  Why or why not?

Finkle notes The Exonerated as another recent documentary “play” in this genre.  Exonerated creators Jessica Blank and Erik Jensen will join Top Secret playwright Geoffrey Cowan and Tectonic Theater Project member and co-creator of The Laramie Project Greg Pierotti for a talkback following the Friday, March 12 performance of Top Secret. Perhaps they can explore this question.