Group Rep Visits Clyde Fitch's The City

 

The City/ written by Clyde Fitch/ adapted and directed by Stan Mazin /Group rep @ Lonny Chapman Theatre/ through February 28

Night-time TV soaps like Dynasty, Dallas, Knots Landing and more recently Dirty Sexy Money explored the universal issues of greed and infidelity and their devastating effects on the family unit. In Clyde Fitch's The City, written nearly 100 years ago, the well-to-do and highly respected politicAl Rand family move from the suburbs of Middlebrook to New York City, experiencing a windfall of corruptions. The City is overly melodramatic by today's standards. The words "the city" get repeated prophetically over and over in Act I: for the son it signals all-out redemption, for the father doom akin to the plague. Of course, all the evils foreseen in the first act come to fruition in Act II, but there' s a much more recognizable reality setting in, one reminiscent of politically powerful families like the Kennedys whose intense deviousness led to popular acclaim. Senseless tragedy, at first seeming unbearable, ironically brings about a newfound, deeply felt … and admirable integrity. Right versus wrong in just about any form serve up good drama. Sugary coated unrealistic ending? Maybe, but still savory!

I would prefer to see the play performed in original period clothing circa 1900, as written. It's fun to bear witness to human flaws as they existed long before we ever dreamed that they did. Take Anton Chekhov: we see ourselves in practically every character. It's the same with Fitch. Played in its proper time period, the message would echo louder. But… utilizing an updated structure, I must commend GRT for its boldness and Stan Mazin's brave attempt to make the play's message reverberate in the here and now. What work best are the emotional confrontations between the siblings…timeless feelings of endearment that create familiar and unchanging dramatic consequences.

Mazin's direction is vibrant, giving the actors free range to fully let loose with their explosive moments. Heading the outstanding cast is Hector Hank as George Rand, Junior. Hank lends conviction, truth and utter believability to this complex man, trying to maintain a sense of balance between his father's unreasonable wishes and his own mixed-up take on morality. Glenn B. Collins as Hannock is equally dynamic as the surprise element in the family business. Their major confrontation in Act II just sizzles. Bix Barnaba as family lawyer Bert Vorhees lights up the stage with his entrance. A wonderfully resourceful actor, Barnaba goes that extra mile to engage us. All the females are riveting especially Melissa Soso as Eleanor. Soso has that rare quality like Meryl Streep that makes her stand apart from the rest, in both look and depth of character. Fun and absorbing are Trisha Hershberger as the perky Megan, Jaclyn Marfuggi as the put-upon Teresa, who wants her cake and to eat it too, and Kady Douglas as the overly attentive Mrs. Rand, although a bit too Edith Bunker at first glimpse. DiAna Martin's quirky deadpan as the undyingly dutiful secretary Susan is a delight.

Set design by Trefoni Michael Rizzi is in just the right key, distinguishing the elegant and comfortable surroundings of the Middlebrook library from the colder, more sterile New York one.

There is much to be said for adapting a minor classic to a contemporary setting. Things change so quickly now that what is new today will be dated tomorrow. But, in this particular case, with Stan Mazin's meticulous skill with dialogue and cultural alterations, the play speaks quite well. Times have changed, but human behavior has not.

And thanks to new artistic director Ernest Figueroa, the Group rep is on the rise to reclaim its former glory.

 

 

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