Historical Context
Spies and Terrorism
Within the narrative of the play, Nat is a master of deception, weaving tales and slipping into new identities with ease. In one such guise, he assumes the role of a spy. When the play first graced the stage under Gardner’s direction, it struck a chord with audiences living in the twilight years of the Cold War. This prolonged standoff, a chess match between the United States and the Soviet Union, was a battle of ideologies, democracy clashing with communism, and it spanned over four tense decades. Unlike wars of the past, marked by the clamor of combat, this confrontation was defined by a feverish race for nuclear supremacy and breathtaking innovations in military intelligence. Each superpower deployed spies, tasked with unearthing secrets about the other's capabilities, all under the shadow of a potential nuclear apocalypse. Though this period was technically a time of peace, the omnipresent air of distrust and anxiety made it feel like a war in its own right—hence the moniker "Cold War."
During this volatile era, the clandestine maneuverings of American and Soviet spies were not the sole acts of political aggression. The global stage was further darkened by a spate of politically driven terrorist attacks. These acts of terror took many forms—hijackings, kidnappings, bombings, and assassinations—each orchestrated by a variety of international terrorist factions.
The Mafia
In another theatrical twist, Nat dons the role of a Mafia don. Gardner's timing was impeccable, as the Mafia, particularly the notorious New York syndicate, was dominating headlines. On February 26, 1985, a seismic event shook the underworld: Rudolph W. Giuliani, New York's determined United States attorney, brought down an indictment on nine alleged Mafia kingpins in federal court. Amidst this legal storm, "Big Paul" Castellano, rumored to be the Gambino family's patriarch, met a violent end, gunned down by three assassins.
Drug Use
In their quest for a high, Nat and Midge indulge in marijuana, while also attempting to rescue Laurie, a young woman caught in the web of a drug dealer known as the Cowboy. Laurie finds herself in peril, unable to settle her debts with him. The Cowboy’s reproach is scathing: “Kept your nose filled and your head happy for a year and a half and look what you do.” This cryptic comment reveals Laurie's cocaine habit. During the 1980s, cocaine use surged, especially in urban landscapes like New York City. Derived from the coca plant, cocaine was most commonly encountered in powder form, which users could snort or dissolve and inject. These methods were typical of users like Laurie. Cocaine's addictive nature and steep cost kept it exclusive, but the mid-1980s saw the advent of crack cocaine. This potent variant, processed with ammonia or baking soda into smokable "rocks," offered a cheaper alternative and swiftly gained a foothold in New York. Despite numerous successful law enforcement crackdowns on production sites in the region, the reach of this drug extended to cities and suburbs across the nation.
Literary Style
Setting
The narrative unfolds amidst the verdant expanse of Manhattan’s Central Park, a crucial backdrop for the unfolding drama. Every moment of the play transpires upon a solitary park bench shared by Nat and Midge. Although Gardner could have set the scene on any bench in any park, he chose Central Park with intention and precision. Here, Nat and Midge showcase their tenacity against the backdrop of a young, chaotic urban world teeming with unsavory characters like thugs and drug dealers. Particularly in the turbulent 1980s, New York City often symbolized crime and narcotics in the public consciousness. Gardner taps into this...
(This entire section contains 518 words.)
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reality, grounding his characters in Central Park to authentically confront these societal shadows.
Dialogue
While the setting provides a subtle framework, it is the dialogue that truly takes center stage. Audiences may overlook the physical setting as they become engrossed in the lively exchanges between two elderly men, punctuated by interactions with a host of peripheral characters. If the play were merely a simple series of conversations, it wouldn’t captivate audiences as it does. The magic lies in the dynamic repartee between Nat and Midge, whose contentious exchanges are a delight. The play opens with Midge provoked by Nat, declaring his refusal to listen any longer. When Nat questions why, Midge retorts, "Because you’re a... liar. I’m not listening to you anymore. Two days now I ain’t been listening." This admission reveals that, despite his protests, Midge has indeed been listening, otherwise, he'd be unaware of Nat's storytelling habits. This intriguing interplay is the very formula Gardner employs throughout the play—Nat's incessant chatter ruffling Midge’s feathers just enough to spark lively comebacks without driving him away.
Foreshadowing
Though Nat’s elaborate tales and deceits provide amusement, Gardner adeptly sows seeds of foreshadowing that hint at the inevitable collapse of his narrative web. At key junctures, he weaves hints of future events. For instance, the introduction of Nat’s daughter, Clara, offers a stormy forewarning. Frustrated by her role in Nat's fabrications with Danforth, Clara exclaims, "I came to tell you it’s the last time! No more calls—" Without Clara’s complicity in his masquerades, Nat’s stories teeter on the brink of collapse. Clara even threatens legal action to restrain him, asserting, "According to the lawyer I’ve got more than enough evidence to prove that you are both mentally and physically incapable of managing yourself or your affairs." Faced with such a dire ultimatum, Nat concocts yet another tale of an affair and a second daughter who intends to whisk him away to Israel, with Laurie, a troubled artist and drug user, cast in the role. However, when Laurie fails to appear due to a problematic encounter with her volatile drug dealer, Nat’s scheming begins to unravel. These ominous signs foretell the play’s resolution, where Nat must relinquish his freedoms, submitting to regular attendance at the Senior Center. He laments, "The day begins at noon there. I must be prompt; Clara checks up. . . . Also weekends in Great Neck. I am seldom in the park anymore."
Compare and Contrast
Mid 1980s
As the Cold War drew to a tense and uncertain conclusion, several high-profile espionage trials captured the world's attention. Among those convicted was Jerry A. Whitworth, who faced a staggering 365-year prison sentence for his pivotal role in a Soviet spy network.
Today
With the Cold War's icy grip now a memory and the Soviet Union dissolved into history, the United States emerged as the reigning global superpower. Yet, even in its dominance, peril lingered. The nation was jarred to its core in 2001 when terrorists commandeered commercial airliners to obliterate New York’s iconic World Trade Center towers and inflict severe damage upon the Pentagon.
Mid 1980s
The globe was engulfed in a storm of tumultuous violence, witnessing a surge of terrorist activities ranging from hijackings and bombings to kidnappings and assassinations.
Today
In response, the United States, along with its international allies, embarked on a relentless campaign to dismantle terrorist networks worldwide. Numerous suspected terrorists and their sympathizers were apprehended, yet the shadowy figure behind the devastating 2001 attacks, Osama bin Laden, continued to evade capture.
Mid 1980s
The streets of New York were introduced to a new menace—crack cocaine, infiltrating neighborhoods with alarming speed. Simultaneously, Ecstasy began its rise, becoming the drug of choice at vibrant and pulsating parties known as raves.
Today
Crack remains a persistent blight in urban communities, fueling the belief that the war on drugs is a losing battle for America. In a bid to combat this scourge, a fervent anti-drug campaign warns of the grim and potentially lethal consequences of using ecstasy.
Media Adaptations
In a vibrant cinematic transformation, "I’m Not Rappaport" made its leap from stage to screen in 1996, brought to life by the creative forces at Universal Studios. This adaptation, penned and directed with precision by Gardner, stars the legendary Walter Matthau as the indomitable Nat and the incomparable Ossie Davis as the steadfast Midge. For those eager to experience this timeless tale, it awaits discovery in both DVD and VHS formats, courtesy of Universal Studios Home Video.
Bibliography and Further Reading
SOURCES Barnes, Clive, ‘‘Comic Rappaport Takes Illusion Lightly,’’ in the New York Post, June 7, 1985.
Gardner, Herb, I’m Not Rappaport, Samuel French, 1987.
Hurtes, Hettie Lynne, ‘‘Just Say It,’’ in Back Stage West, Vol. 4, No. 1, January 2, 1997, p. 10. Meyer, George, Review of I’m Not Rappaport, in The Critical Response to Eugene O’Neil, Greenwood Press, 1993, p. 16.
Miller, Barry X., Review of The Collected Plays, in Library Journal, Vol. 125, No. 12, July 2000, p. 90.
Novick, Julius, ‘‘Herb without Spice,’’ in the Village Voice, Vol. 30, No. 26, June 25, 1985, p. 110.
Olson, Ray, Review of The Collected Plays, in Booklist, Vol. 96, No. 18, May 15, 2000, p. 1722.
Scheck, Frank, Review of I’m Not Rappaport, in the Hollywood Reporter, Vol. 374, No. 24, July 26, 2002, p. 13.
Schwarzbaum, Lisa, Review of I’m Not Rappaport, in Entertainment Weekly, No. 665, August 2, 2002, p. 65.
Shannon, David, Review of I’m Not Rappaport, in Today, July 7, 1986.
Simon, John, ‘‘Faking It,’’ in New York Magazine, Vol. 18, No. 25, June 24, 1985, pp. 72–73.
Stasio, Marilyn, ‘‘Timing’s Off for Rappaport Revival,’’ in Variety, Vol. 387, No. 11, August 5, 2002, p. 29.
Wheen, Francis, Review of I’m Not Rappaport, in Sunday Today, July 13, 1986.
FURTHER READING
Hales, Michael, 212 Views of Central Park: Experiencing New York City’s Jewel from Every Angle, Stewart Tabori & Chang, 2002. Central Park is the main setting in the play. This book offers more than two hundred images of Central Park, helping readers to visualize the events in the play.
Lieberman, Trudy, Consumer Reports Complete Guide to Health Services for Seniors, Three Rivers Press, 2000. Lieberman guides consumers through the complicated health-care system that services seniors. It also provides more information for readers who wish to see the flaws in the current system.
Thau, Richard D., and Jay S. Heflin, eds., Generations Apart: Xers vs. Boomers vs. the Elderly, Prometheus Books, 1997. Thau and Heflin collect essays by and about members of Generation X, the Baby Boomers, and the elderly. In particular, the essays examine the ways these three generations interact with each other.
Torr, James D., ed., The 1980s, America’s Decades series, Greenhaven Press, 2000. This book contains several reprinted essays that address various topics relevant to the 1980s. These topics cover popular culture, politics, and science and technology, among other issues.
