By Jason Overdorf - The Washington Diplomat (March 2019)
It’s not until the end of John Feffer’s one-man show, “Next Stop: North Korea,” that the foreign policy scholar-cum-playwright offers a withering comment on the failed second summit meeting between President Donald Trump and North Korean leader Kim Jong-un.
Adopting the guise of a Scottish tour leader who sets the context for the contemplative 12-scene comedy, he opens the question-and-answer session with a setup for a one-liner: “You could ask me what I think about the recent meeting, for example,” he says, “and I’d tell you: They were having such a lovely love affair, I thought they’d consummate it. But instead, we got summit interruptus.”
The co-director of the Foreign Policy in Focus project of the Institute for Policy Studies, a D.C.-based liberal think tank, Feffer has long blurred the line between his academic and creative work. His most recent novel, “Splinterlands,” for instance, describes a dystopian future that’s informed by his study of virulent nationalism and the pressures threatening to dissolve the European Union. And earlier one-man shows dramatized his thinking on the failed response to an ecological collapse and his research on the fall of the Berlin Wall and spoofed a well-known local type: the foreign policy pundit grubbing for “that most coveted of D.C. positions: a top administration job.”
The blending of disciplines works particularly well in his latest show, which is less a satire than a travelogue that takes the viewer on an imaginary visit to North Korea. Where journalism and policy writing all too often eclipse the ordinary people affected by the momentous events they describe, dramatization allows Feffer to portray and explore the nuances of life in one of the most closed-off countries in the world.
This includes delving into the conflicts and compromises that the totalitarian state demands of a foreign tourist and aid worker; a tour guide schooled in propaganda; a government apparatchik; and a taxi driver wrestling with patriotism and the struggle to survive. Because the so-called Hermit Kingdom is the proverbial black box for most viewers, the imaginative journey is especially evocative, although director Angela Kay Pirko has eschewed all but the barest hint of sets and costumes.
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