Photo by Curtis Brown Photography

Henry Ford (John Leonard Thompson), Thomas Edison (Rob Donohoe), and President Warren Harding (Tom Wahl) discuss issues in Mark St. Germain’s funny and thought-provoking play, Camping with Henry and Tom.

By AARON KRAUSE

A U.S. president, a famous inventor, and a powerful business magnate journey together into the woods.

This is not the beginning of a joke. In fact, this scenario happened more than once. Learn about its relevance for today in Palm Beach Dramaworks’ funny and convincing professional production of Mark St. Germain’s witty, smart, insightful, and mind-exercising play, Camping with Henry and Tom.

The production, which runs about two hours, including an intermission, plays through April 27 in PBD’s intimate theater on Clematis Street in West Palm Beach. This mounting marks PBD’s second time staging Camping with Henry and Tom; the nonprofit, professional theater company also produced it in 2001 during the company’s infancy.

The current production, under Producing Artistic Director William Hayes’ skillful direction, stars talented performers with whom South Florida audiences are likely familiar. Specifically, Rob Donohoe portrays famed inventor Thomas Edison (1847-1931), John Leonard Thompson plays American industrialist Henry Ford (1863-1947), and Tom Wahl steps into President Warren G. Harding’s skin (1865-1923).

The 1921-set play, which the cerebral St. Germain wrote during the 1990s, blends the playwright’s signature wit with a deep dive into big and relevant themes and ideas such as politics’ questionable intersection with business, racism, power, friendship, leadership, prejudice, business interests, and civic responsibility.

Undoubtedly, it is a talky, intellectual play set in rural Maryland that is smart without talking down to audiences. In fact, it is an accessible piece, thanks, in part, to its humor, humanity, and the play’s character-driven drama. The play, and PBD’s production, never comes across as a dry history lesson. Perhaps you never studied about the event the play covers in your history textbooks.

The playwright based this piece of historical fiction on actual incidents. Indeed, Edison, Ford, Harding, and others camped together several times between 1915 and 1924. However, in his play, St. Germain imagines a scenario in which the men leave their tents, journey farther into the woods to escape media attention, and wrestle with many topics and each other. A deer also figures into the play. More about it later.

In the piece, Ford tries to solidify his influence over Harding, whom he views as weak and easily manipulated. Ford, a Trumpian character with strong presidential aspirations, harbors convictions about the country’s direction. Not surprisingly, the fiery, opinionated businessman thinks industrialists such as himself should control America.

Opposite Ford, St. Germain portrays Harding as a charming but indecisive leader eager for others to like him.

Conflicts, sometimes heated, erupt between Ford and Harding. Edison acts as a kind of mediator between the two. The inventor is less interested in politics and more concerned about innovation and progress. Edison also expresses concern about the moral implications of Ford’s approach to business and life.

As the camping trip progresses, Ford becomes more direct in his efforts to manipulate Harding.

Clearly, Harding grows uncomfortable with the weight of Ford’s expectations. The nation’s 29th president (he served from March 4, 1921-Aug. 2, 1923) wants to please Ford. But he is unsure about the moral implications of following such an aggressive, capitalist agenda.

While he is not a politician, Edison speaks to Harding about the importance of progress and human innovation. True greatness lies in contributing to society through knowledge and discovery, not just wealth and power, the inventor argues.

The tension between Ford and Harding comes to a head late in the play. Ford, who is used to getting his way, presses Harding to make concrete decisions favoring the business elite. But Harding begins to push back. With Edison’s influence, Harding comes to realize he does not need to be Ford’s or anyone’s puppet.  In a major turning point for Harding, he tells Ford that he will no longer allow him, or anyone else, to control him.  So, at the end, Harding’s character arc reflects personal growth and the possibility of redemption.

The woods is a highly symbolic setting in many works, such as Stephen Sondheim and James Lapine’s 1986 musical Into the Woods. Familiar and famous fairytale characters learn that consequences exist for their actions and wishes. In the musical, the woods symbolize, among other things, life’s challenges, and the transition from the safety of what we know to the uncertain.

In Camping with Henry and Tom, the woods can symbolize a chance to get away from the hustle and bustle of everyday life. But the setting can also serve as a darker symbol. In the piece, Harding exasperatingly says, “All I wanted was some peace and quiet, and now I’m stuck in the woods with two of the world’s most famous inventors arguing about tent poles.”

More seriously, the characters find themselves out of their comfort zones. In this uncomfortable, unfamiliar setting, they must confront their vulnerabilities, relationships, and priorities. Moreover, this rustic, basic setting allows for raw and honest conversations.

While the woods are symbolic in Camping with Henry and Tom, so, too, is a deer, an off-stage character. The human characters whom we see and hear become stranded after hitting the animal with their car.

In Bert Scott’s impressively detailed and realistic set design, which resembles a wooded area’s real grass, trees, and shrubs, the characters travel in what strongly resembles a real automobile. That is fitting for a play populated by, among other people, a car manufacturer. We also see the characters on black and white film through Adam J. Thompson’s creative video design.

The indomitable deer not only survives the initial collision with the characters’ car, but subsequent struggles with the characters. Perhaps the animal represents the resilience of America and its many diverse and colorful characters.

Surprisingly, the play’s title is simply Camping with Henry and Tom. What about Harding? Certainly, his role in the play is as important as the others.

While these men are famous historical figures, the playwright has drawn them as imperfect, flawed, and relatable human beings. Well, mostly relatable. Ford can come off as an arrogant, bigoted, and aggressive jerk, as he may have been in real life. Credit St. Germain for not placing the characters on pedestals.

Under Hayes’ deft direction, which includes moving the actors around the stage to prevent stasis, the actors bring out the characters’ humanity. In addition, the performers’ comic timing is impressive.

Donohoe’s deadpan expression as Edison nicely complements the actors’ wry delivery of wisecracks. In fact, the expression and delivery call to mind late actor Walter Matthau’s demeanor in shows such as The Odd Couple.

Donohoe, a veteran performer who is no stranger to PBD (this show marks his 13^th production with the company) imbues the famed inventor with wisdom and acts impressively natural in the role. Frankly, at times, Donohoe’s Edison sounds irritable and stubborn. But nobody is perfect. With glasses perched on his nose and clad in a period suit, Donohoe’s Edison looks like a scholar.

Donohoe’s mellow Edison contrasts with Thompson’s fiery and aggressive Ford. With a sharp voice, Thompson, a veteran actor whom you may have fairly recently seen at PBD in Twelve Angry Men, commands the stage and punctuates his forceful remarks by sometimes hitting his forehead. In addition, bitterness creeps into Thompson’s voice when his character maligns folks such as Jewish people. Unfortunately, this reinforces the play’s timeliness to today (Ford was a noted Anti-Semite).

Out of the play’s four characters, (John Campagnuolo convincingly plays Harding’s faithful and wary secret service agent, Col. Edmund Starling, 1875-1944), Ford is the least likable. Even so, Thompson plays him as a nimble, energetic man who apparently loves dancing and life. So, there is at least something redeeming about him.

With slicked back grey/silver hair, and clad in a blue-grey suit, Wahl looks and sounds professional and polished as Harding. The performer, a veteran actor who has appeared at PBD many times, conveys charm and makes his character consistently likable and seemingly well meaning.

As the production progresses, Wahl’s Harding seems to gain confidence. And Wahl believably breaks down during an emotional moment for Harding. Wahl is also gleeful and animated when he needs to be.

In addition to creating four distinct, believable characters, the actors also shine as an ensemble. They seem to really listen to each other.

Lighting designer Kirk Bookman realistically illuminates the stage, creating what resembles natural outdoor light. Also, behind the scenes, costume designer Brian O’Keefe clothes the performers in period outfits that befit the characters.

St. Germain specializes in suppositional history. He often writes intellectual dramas with emotional depth and humor. Some of his more notable works include 2009’s Freud’s Last Session. The piece imagines a meeting between Austrian neurologist Sigmund Freud (1856-1939) and British writer C.S. Lewis (1898-1963).

Freud’s Last Session was among the first pieces PBD produced in its second season in 2001-02.  In addition, St. Germain’s plays, Dancing Lessons and Becoming Dr. Ruth, also ran, more recently, on South Florida stages.

IF YOU GO

WHAT: Palm Beach Dramaworks’ production of Mark St. Germain’s play, Camping with Henry and Tom.

WHEN: Through April 27.

WHERE: 201 Clematis St. in West Palm Beach

TICKETS: Call (561) 514-4042 or go to www.palmbeachdramaworks.org.