A Free Man of Color

It looks beautiful but there’s not much there. John Guare’s play A Free Man of Color, currently in performances at Lincoln Center, is a confusing, jumbled and unfocused production that is a disappointing waste of the ample talent devoted to it. Part history lesson, part love story, part comedy and part tragedy, it is difficult to follow and even more difficult to enjoy.With sets by David Rockwell, costumes by Ann Hould-Ward and lighting by Jules Fisher and Peggy Eisenhauer, A Free Man of Color is a lavish and sensual production. However, while it excels in appearance, it severely lacks in coherence. The story of Jacques Cornet (Jeffrey Wright), a freed slave who purchased his freedom and was made the heir to his white father’s fortune, it also depicts the decisions made leading up to the Louisiana Purchase. Cornet, whose obsessions include women, maps and clothing, is sold back into slavery as a result of the Purchase, losing his life of lust, excess and consumption.It’s quite a story and the script struggles to maintain a coherent narrative, filled with exposition and history lessons that are nothing short of chaotic. It’s difficult to follow the political side of the story without a strong historical background, and it’s even more difficult to watch the political aspect of the play fold into the personal plot.As Cornet, Wright gives an impressive performance, clearly enjoying himself as he struts about the stage in his ornate outfits and bedding beautiful women every time he turns around. Sara Gettelfinger puts forth a valiant effort as Cornet’s long-forgotten wife, but the part is too minimal for Gettelfinger to display her true comedic talents. Mos is entertaining as Cornet’s beleaguered slave, often stealing the scene from the more finely dressed individuals.The impressive supporting cast includes John McMartin as Thomas Jefferson, Reg Rogers as the French statesman Talleyrand and Paul Dano as Meriwether Lewis. However, it is difficult to keep track of every member of the cast and many fine performances got lost in the shuffle.At one point during the production, Cornet vows to strip himself of his fine clothes and dandying ways as penance for his sins of the past. This production would do well to follow the advice of its main character. Perhaps then the true potential of this show could be seen and brought to the surface.