Whether by coincidence or design, Aaron Loeb’s The Trials of Sam Houston comes on the heels of Hamilton, a musical that deliberately casts the roles of the White Founding Fathers with Men of Color. Perhaps this is to make history more relatable, or a statement about birth and privilege, or race less of an issue. Perhaps all three. Loeb’s Trials is also color-blind and gender-blind, though perhaps without the same sense of purpose. To his credit, Loeb’s narrator is Jeff Hamilton, a former slave/valet who shares his story with historian Patricia Caras, to remind us, I suppose, of the impact that white politicians have on black lives. The ghost of Sam Houston himself makes appearances, when he’s not hanging on the periphery. The performers are double and triple cast, women step into men’s roles, African Americans into the roles of Caucasians.
Trials is built upon an incident in which Governor of Texas, Sam Houston, confronts Congressman William Stanbery in the street, and pummels him for besmirching his good name. He is thrown into jail where he gets soused on bourbon, sings and pontificates endlessly. His friends hire attorney Francis Scott Key (yes, that one) who has his work cut out for him. Even though Houston understands he broke the law, he cannot show contrition, because he doesn’t understand how he could let such libel pass. While they hash out a strategy, Houston insists the other men drink with him, in the spirit of camaraderie. Subsequently he must crawl to President Andrew Jackson to help resolve this catastrophe. After that he is called upon to address Congress, and summon his considerable oratory skills which, moving though they may be, seem to lack substantial content.
In defense of Sam Houston, he was a fierce defender of the Native Americans, under the administration of Andrew Jackson, who (to be kind) treated them disgracefully. His friends remained loyal, even when they were disgusted with him. He may have been insufferable, but he was, generally speaking, authentic. He dressed like Davy Crockett, and had a gift for being a loud-mouthed buffoon. In current lingo, he had no impulse control. Houston was all heart, for better or ill, but nothing Stansbery did warranted a thrashing with a walking cane, or repeated kicks.
In writing The Trials of Sam Houston, perhaps Loeb was trying to express the complexity of the man, with all his grace, foibles and flaws. If indeed he was complex at all. It doesn’t always coalesce. Jeff Hamilton hints at a revelation he’s withheld all these years, and it comes at the end of this drama. When Hamilton was only a young man, Houston scooped him up and saved him from a master notorious for working his slaves to death. Jeff grew up to be refined, educated and well-treated, but when he reminds Houston of a promise he has yet to fulfill, he is subjected to truly ugly behavior. Trials is filled with humor, invention, and entertaining moments. Throughout the show, Loeb seems to vacillate on the nature of Houston’s character and his grasp of the concept of honor. If we’re meant to respect him after this final act of hypocrisy, I’m not sure the play survives it.
Dallas Theater Center presents: The Trials of Sam Houston, playing April 20th-May 13rth, 2018. Kalita Humphreys Theater, 3636 Turtle Creek Blvd, Dallas, Texas 75219. 214-526-8210. www.dallastheatercenter.org