Honor

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Consider, if you will, the different ways some words can be defined and used. Honor is one of those words, a word with as many as ten definitions, depending upon the dictionary consulted. There is also no standard order in which the various definitions are ranked. It is fair to say that whatever one thinks is the definition of honor is probably correct. When it comes to dealing with how one is treated, the personal definition wins out. One person’s honor may be another person’s dishonor. In some cultures, it is an honor to kill someone who is perceived to have committed a dishonor.

Honor, a one-act play, written and superbly directed by T.J. Elliott, explores the conceptual nuances of “honor” within the context of a corporate investigation into a case of harassment and intimidation brought against a corporate executive. It is a clashing of privilege and ego between executives, revealing some ugly truths about corporate management while also dealing with the ambiguities of personality and individual perceptions. The play is short and solidly to the point, and I don’t see how expanding it will add anything to the mix. It is a beautifully executed production and will resonate with anyone with a passing familiarity of executive corporate culture.

The play opens with two characters in a corporate conference room. Ronnee Emerson (Alinca Hamilton), Associate General Counsel of a corporation and Ludwig Cade (John Blaylock), General Counsel of the corporation. They are discussing details of a meeting that is about to take place with Don Troy (Ed Altman), the executive who was being investigated. The conversation involves details about the investigation and reveals some of the attitudes each person has towards Don Troy. It is particularly revealing about Cade’s attitude” he does not like Troy.

Hamilton and Blaylock perfectly embody their characters. Hamilton portrays a strong woman, clearly focused on her position in the counsel’s office and her role in the investigation. Blaylock is solid in his portrayal of a rigid, hard-nosed lawyer completely focused on the issue at hand. The brief discussion also reveals Blaylock’s softer demeanor and Cade’s rigidity in expressing feelings. Altman gives a strong performance, showing all the various aspects of the character’s personality perfectly in tune with the changing dynamics of the play. All of these actors are first-rate in their performances.

When Don Troy arrives, he presents a dramatic contrast to the “matter-of-fact” affect of the two lawyers, particularly Cade’s administrative conduct. Blaylock is more relaxed and social in her behavior and interactions with Troy.

Elliott’s direction of these opening interactions effectively sets the stage for what is to follow. In some ways, this opening sequence sets an expectation of who the characters are that is not completely born out over the course of the show. The apparent definition of the character is really a sketch of what is to follow, with the full realization having much greater depth and development in surprising ways.

The issue is the accusations against Troy and the subsequent investigation initiated by Blaylock and expanded by Cade. Troy wants a statement made by the corporation to restore his “honor,” in the sense that he defines honor as his “good name” in the eyes of his co-workers.

In a series of quick exchanges, he reads from what he considers to be the type of restorative statement he thinks should be made. This exchange reveals an element of Cade’s animosity towards Troy.

Don: The healing that I seek, the healing that…

Ludwig: Now healing! We’re lawyers, Don, not doctors. And definitely not the psychiatrist you need.

As Troy continues to read the statement he wants, Ronnee reveals more of her feelings toward him:

Don: The person who started this whole thing is punished.

Ronnee: Punished? Healing and punishment? You are really preaching today, Mr. Troy. But this is not Sunday service.

Cade is rigidly legalistic in his position that “honor” has nothing to do with the investigation’s outcome, and punishment certainly has no place in the resolution. Blaylock is caught between the arguments for honor and the formal legalistic ending of the investigation.

The play masterfully takes what appears to be an apparent disagreement over a value interpretation of an issue to a place that reveals the complexity of not only the interpretation of the issue but also each of the participant’s values. The ending provides an excellent explication of the complexity of human character in the interpretation of what constitutes personal honor, leaving one with intriguing ideas to contemplate.

Honor (through October 6, 2024)

Knowledge Workings Theater Company

The Gene Frankel Theatre, 24 Bond Street, in Manhattan.

For tickets, visit http://www.our.show/honor

Running time: 70 minutes without an intermission