A Letter to Lyndon B. Johnson or God: Whoever Reads This First

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A Letter to Lyndon B. Johnson or God: Whoever Reads This First is a gem of a play written, directed, and performed by Xhloe Rice and Natasha Roland. This two-hander makes a connection between a couple of Boy Scouts in the early 1960s and grunts in Vietnam at the end of the decade. While billed as an “absurdist” production, given the various definitions of “absurd,” this show is anything but absurd. The words that come to mind are humorous, poignant, comedic, dramatic, provocative, and compelling.

Rice and Roland brilliantly blend three seemingly unrelated narratives into a coherent show tracing a journey from a childhood view of masculinity as represented by soldiers to the harsh reality of that view in war. In the process, they tell us apparently silly stories and recount pranks and adventures the boys had, as well as the profound darkness of war in the jungles of Vietnam, representing the completion of a rite of passage into manhood.

Rice and Roland inhabit the central characters of Grasshopper and Ace so perfectly one feels, in the beginning, as if eavesdropping on two Boy Scouts exploring how to become men. The names of the characters bear out the idea of dominance versus passivity, with Ace being daring and Grasshopper being timid.

This dichotomy is beautifully illustrated in the first two scenes. Ace tells the story of swinging on a rope over a lake and, in the process, dethroning the local bully’s status as the best on the rope swing. The second scene solidly establishes the personalities of the two when Ace tries to teach Grasshopper how to defend himself. It is a moment when Rice and Roland acknowledge the audience as Ace recounts being picked on while growing up in a house full of brothers. When Grasshopper comments that it makes one tough, Ace responds: “No, it means I just know you don’t pick a fight you can’t win.” He then gives Grasshopper a shove, initiating the lesson in being assertive.

Each of the sections of the production is masterfully woven together with physical comedy, conversations with the audience, and short musical interludes. It is a process illuminating the psycho-social elements presumed in the male maturation process, such as showing toughness in the face of a challenge. It takes the viewer from the silliness of adolescent Boy Scout pranks to the seriousness of staying alive in a war.

A somewhat subtle element in the story is the notion of expressing a masculine relationship centered on touching or holding hands. Ace tells a story about playing his trombone to a passing train with LBJ on board. This scene is followed by the beginning of a story about a boy on a quest to become a man, told by Grasshopper, which will be added to throughout the show. These two scenes lead to an important detail about the idea of physicality in masculine relationships. The scene has both characters addressing the audience about family, names, and what each boy means to the other. At this moment, the following exchange takes place;

GRASSHOPPER: Right! Stuff like how to do a spit shake, and how to skin your knees, and how you can’t hold another boy’s hand unless you’re really REALLY scared

ACE: Only in-

BOTH: extreme situations!

These are two boys who have strong feelings for each other and are trying to find a way of expressing those feelings without violating the perceived social norms of the day. They really love each other but cannot openly express that love. It is a powerful dramatic element skillfully played out throughout the show.

Direct political and social commentary is ever-present but not presented in the form of soapbox oration. It is the subtext that drives the narrative and prompts thoughtful introspection in the audience as they leave the theater and reflect on what they have just experienced.

Rice and Roland are extraordinarily talented and compelling writers and performers. They won the prestigious Edinburgh Fringe Festival Fringe First Award for Outstanding New Writing three consecutive times, including in 2024 for this play. Their performance is almost larger than life in their portrayals of the characters with exquisite timing and sharp dialogue. It is impossible to take one’s eyes off their impeccable precision as they seduce the audience into the heart of their depiction of boyhood into manhood.

The lighting design and technical management is masterfully done by Angelo Sagnelli. The lighting is an essential element in the production and it is perfectly in sync with the energetic, highly choreographed actions of the two principals of the show. If it were not enough for Rice and Roland to have written, directed, and performed, they are also responsible for Ace and Grasshopper’s perfect costumes.

A Letter to Lyndon B. Johnson or God: Whoever Reads This First (through June 29, 2025)

SoHo Playhouse, 15 Vandam Street, in Manhattan

For tickets, call: (212) 691-1555 or visit http://www.ci.ovationtix.com/35583/production/1217867

Running time: 65 minutes without an intermission