Group rep Brings Us Back to 1837

The Poor of New York
by Dion Boucicault
directed by Larry Eisenberg
Group rep @ Lonny Chapman
through July 10

Sometimes plays from the distant past are better left where they belong, or if revisited and given a fresh look, it is wise to make sure the pieces fit securely. Larry Eisenberg, a diligent and resourceful actor and director, ordinarily, has unwisely chosen to take Dion Boucicault's The Poor of New York, a melodrama in five acts, which was last seen on Broadway in 1857, and put a more realistic spin on it. It sounded interesting on paper, and especially with the promo that it would not be done for laughs but with a straightforward approach for pure dramatic effect. Despite some splendid staging and energetic cast contributions, the production, now onstage @ Group rep at Lonny Chapman is like a malfunctioning railroad car trying to catch up to the rest of the train.

As if the poor do not suffer enough, add to the unevenness a musical score from the silent picture era, that underscores the action - and much too loudly at that. Music helped considerably in a silent film sans dialogue; it punctuated highly dramatic moments and intensified feelings. On stage with spoken words, it plays at odds with what's going on. At times it's fun especially when the villains step on the gas and push their treachery to the limit, but as is that happens very infrequently. Some scenes are dead serious and heavy handed like an attempted dual suicide of an impoverished mother and daughter, and then others play as comically as the bumbling shenanigans of Buster Keaton or Harold Lloyd. Take, for example, the fire scene where Badger (Van Boudreaux) rushes into a burning building to find a receipt - an important piece of evidence, which will be needed to blackmail scoundrel/ banker Gideon Bloodgood (Chris Winfield) for his dastardly crimes against humanity. Played out on a screen behind, Badger scurries around the room while fake flames of a totally controllable-looking fire rage at the front edge of the screen. It's very funny and the audience laughs uproariously. Back to back the two scenes do not match in tone and texture. It gets to the point where we don't know whether to laugh or cry.

There is some wonderful work from Trisha Hershberger as Alida Bloodgood, who steals every scene she's in with her villainous style and presence, Kate O'Toole as the meek Lucy Fairweather, Max Bunzel as stalwart Paul Fairweather and Kathleen Taylor as overzealous Mrs Puffy. (understudy for Michelle Bernath, who went on with very short notice.)

Chris Winfield's simplistic set with Eisenberg's imaginative stage setup work well theatrically and videographer Christian Ackerman has added some beautiful stills of New York and its people from this bygone era. I laud the efforts, but unfortunately it doesn't gel with the presentation. If we are to be spared the silly melodrama of The Perils of Pauline and be moved by the drama, further style/technique is required here. It might play out better as sheer docudrama with each scene freeze-framed as in a tableau or painting. If the audience chuckles, that's OK. Although currently in a recession and parallels cannot be avoided, on stage we're not glimpsing what is, but what once was.

 

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