With its hilarious exchanges, high-brow pedigree, brisk direction, and impressively gorgeous set, South Coast Repertory's new revival of George Bernard Shaw's classic comedy MISALLIANCE-with performances continuing through October 10-is one sophisticated delight, a witty set of back-and-forth arguments punctuated by a plethora of very charming, winning performances. Somehow, though lacking a real plot in the traditional sense, MISALLIANCE creates a thoroughly engaging environment for multiple debates of ideas, which in turn produces a wonderful timeline for absurd comedy and droll contentions to play out over two very verbose acts.
First presented exactly a hundred years ago, this comedy of manners is surprisingly modern and forward-thinking, presenting ideas that can arguably still be disputed in today's society (though, perhaps, with less intellectual wit and proper language). Casting aside the customary structures of storytelling (particularly in staged works), Shaw depicts the action dramatized over the course of one very topsy-turvy day. The playwright himself subtitles MISALLIANCE as "a debate in one sitting," though as an audience member, it felt less like one long continuous debate, but rather several ones-tag-teamed from one character to another with much creative vigor. Accenting these funny rebuttals are Shaw's recurring use of humorous, truly absurd situations that (in a good way) almost betray its seemingly intellectual endeavors. By the time a duo of out-of-nowhere surprise guests literally drop in unannounced (along with another uninvited guest hiding in the family's newly-installed Turkish bath), one realizes that this is more than just a mere period piece about romantic dalliances.
It is May 31, 1909, and we find ourselves inside a glass-encased conservatory in the home of "new money" underwear magnate John Tarleton (the spry
Dakin Matthews) in the countryside of Hindhead, Surrey. The central situation up for debate is the eyebrow-raising engagement of Tarleton's restless daughter Hypatia (the glorious
Melanie Lora) to the snobbish, super-wealthy aristocrat Bentley Summerhays (the excellently over-the-top
Wyatt Fenner). Hypatia is truly an anomaly in her own time (but not in Shaw's ideals), as she is keen to express her true feelings on class politics, traditional female roles, and the audacity of conventions forced on her by everyone around her, including a doting mother (
Amelia White) and a cad of a brother (
Daniel Bess). Thus begins a series of intensely intellectual (and highly amusing) debates about male-female courtship, revealing each characters' stance (and proclivities) when it comes to relationships and social order. There is plenty of playful banter that zips back and forth, interrupted occasionally by more than a handful of marriage proposals (all in one day!) and the sudden appearances of wildly outrageous strangers in the play's latter half.
Directed by
South Coast Repertory's artistic director
Martin Benson (who, along with SCR co-founder
David Emmes, will step down from his leadership post later this year), this production of MISALLIANCE benefits from its slightly British sitcom-like pacing, as well as its ability to still feel quite grounded in its realistic portrayal of human aspirations. Shaw's one-liners-much of which land as if they were written just this decade-zings from the cast as punctuation marks in their long and winding soliloquies (an example: "common people don't pray, they beg!") The play is far from untouchable by casual playgoers; you'll find that the antiquated, proper English nomenclature is about as coherent as the high-fallutin' high-jinks on
Frasier.
Many of the play's ideological platforms are still very debatable even today (including arguments about socialism, gender/age gaps, and what makes for successful marriages), which perhaps explains best why today's modern audience finds humor in the curiously odd situations these characters find themselves in during this late May afternoon. They are not only all rich in finances, they are also all rich in eccentricities-without seeming too much like they dove into unfortunate stereotypes.
Aside from the colorful costumes designed by
Maggie Morgan, the play's most eye-popping wonder is its gorgeous set designed by
Ralph Funicello. This high-ceiling, turn-of-the-century glass sun-room, complete with symmetrically-hung iron bird cages and a clear pitcher of lemonade, is a beautiful compliment to the riveting conversations among the talkative cast, creating the effect of action figures scurrying about in a see-through dollhouse.
The cast is altogether superb, led by the wacky quirkiness of literature-quoting
Dakin Matthews (admittedly, my only experiences of seeing Matthews has not been on the stage, but rather limited to his recurring appearances as stuffy authority figures in shows like
Jack and Bobby,
Desperate Housewives, and
Gilmore Girls... so it's quite an awesome surprise to see him so robust and playfully giddy here). It is no fluke that Matthews deservedly coaxes thunderous hoots and applause each time he leaves each of his scenes. Matching him with an even more animated performance is Fenner, whose adorably petulant Bentley effectively straddles the line between being "accustomed to cleverness" to having none-to-subtle effeminate mannerisms (not that there's anything wrong with that).
As Hypatia, Lora beams with a suffragette's soul and does an effortless job matching wits with men twice (thrice?) her age.
Richard Doyle's Lord Summerhays is a nice contrast to the loonier elder Tarleton, and White is just lovely as his wife, Mrs. Tarleton. Despite understandably fumbling through some of his magniloquent speech in his beginning debate with Fenner's character,
Daniel Bess does solid supporting work in his role as John, Jr. Later in the play the out-of-the-blue appearances of the cool/sexy/scary
Kirsten Potter (terrific as acrobat Lina Szczepanowska),
Peter Katona (as pilot Joseph Percival), and the hilarious JD Cullum (as tragic-comic
Julius Baker) add to the brilliant craziness of it all.
As a study on male-female relations-and whether or not one complies with societal norms and conventions about what constitutes acceptable behavior-MISALLIANCE offers up the great debate, enjoyably packaged in fine, amusing way. Shaw's intentional playfulness (and adamant ideology) is in worthy display here as he poses the play'sultimate debate: what differentiates a good alliance from a "misalliance?" It is so nice to find that the journey to ponder the question comes bound in laughter and frivolity.
Photos by Henry DiRocco/SCR.
Top, Left to Right: Wyatt Fenner, Melanie Lora, Dakin Matthews and Amelia White.
Middle: JD Cullum. Bottom, Left to Right: Wyatt Fenner and Kirsten Potter.-----
Performances of MISALLIANCE at
South Coast Repertory continue through October 10, and are Sunday, Tuesday and Wednesday evenings at 7:30 p.m., and Thursday, Friday and Saturday evenings at 8 p.m., with Saturday and Sunday matinees at 2:30 p.m. Discounts are available for full-time students, patrons 25 years of age and under, educators, seniors and groups of 10 or more. There will be an ASL-interpreted performance on Saturday, October 9, at 2:30 p.m.
POST-SHOW DISCUSSIONS: Wednesday, Sept. 22, & Tuesday, Sept. 28Discuss the play with members of the MISALLIANCE cast during free post-show discussions led by
South Coast Repertory's literary team.
Tickets, priced from $20 to $66, can be purchased online at
www.scr.org, by phone at (714) 708-5555 or by visiting the box office at 655 Town Center Drive in Costa Mesa.
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