Review: THE OLDEST PROFESSION at Hanover Little Theatre

When one arrives at the historical building that is home to Hanover Little Theatre, you are greeted with down-home hospitality. Knowing that the theatre has served its community for 68 years is just impressive. Their current production of Paula Vogel's THE OLDEST PROFESSION, validates their longevity of commitment to the performing arts.

With subjective humor and a bit of despair, playwright Paula Vogel introduces us to the story of five women in a line of business that does not discriminate on age. In fact, it gingerly embraces it. Time is the one continuum that the characters can depend on, for good or for bad. In the words of Vogel, "people keep aging and we'll keep recruiting."

What is painfully clear, however, is the depth of despair the women must continually swallow. They are prostitutes but only in the eyes of others. They see themselves as a tight knit group of friends weathering storms of commonality and disagreeing with a familiarity to that of a family together for 40 years. But with these years comes storms they cannot weather together; one by one they must move on.

There are a few artistic opportunities missed in Hanover's production. When Ursula (Dixie L. Smith) reflects on her upbringing, a softer and more reflective tone may add another dimension to Ursula's character. Doing so allows the audience a chance to sympathize with her, and the other actors. The costumes could better support the storyline by dressing more liberally and taking more chances with each character's individuality. Details are very important when a play's staging is deliberately sparse. Wearing brand new tennis shoes and well cleaned clothing in a scene where Vera (Suzanne Williamson) is so poor that she must eat from trashcans, is one example.

Metaphors abound in this story. From trash bags to negligees, there are defining moments to stop and breath; to be present and allow the richness of the text to guide the way. Erin DiNello (Mae) allows this to happen. It is in the quiet moments when she is listening that her story is conveyed and her vulnerability effectively revealed. Juxtapositions of one-liners and dramatic context give the audience permission to relax and laugh.

First time director, Courtney McDougall does a fine job of staging and allowing Vogel's lines to be heard. We are forced to focus consistently on just the five characters, as they remain seated on two park benches throughout Act One. The set designed by, Charlie Beard, Brian Shea, and Chad Zepp, fits perfectly to scale of the space without distraction to the characters. A little bit goes a long way in setting the atmosphere needed to convey a sense of empty longing, and fragile loneliness.

Performances run November 17th-20th. For ticket information contact hanoverlittletheatre.com

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