Review: Good Theater Reopens with Scintillating World Premiere of Rob Urbinati's LADY SUSAN

The Good Theater reopened its doors last night with a breathtakingly stunning world premiere of Rob Urbinati's new play LADY SUSAN, directed by Brian P. Allen and James Noel Hoban. Taking its inspiration from Jane Austen, this 21st century work has all the eloquence of an early 19th century classic, as it explores the intricate, timeless mating games that seem as relevant today as they did more than two hundred years ago.

The seven-character comedy of manners sparkles with wit and brilliant repartee, worthy of masters like Oscar Wilde, at the same time that it offers subtle satire and psychological complexity. The characters are at once recognizable icons from Austen and British literature of the period, at the same time that their motivations and manipulations hold a modern fascination. Urbinati is a virtuoso with the language, spinning effervescent and mordent dialogue that requires the listener's total attention to grasp and savor all the nuances. His plot - while it centers on drawing room action - has enough little twists, turns, and delicious secrets to captivate the audience until the final moments.

Allen and Hoban direct the one-hundred-and-five-minute play with an impeccable sense of style and grace that is entirely true to the period context. They keep the pace brisk, the verbal exchanges electric, and the movement and blocking choreographed to suit the era. Steve Underwood, with Hoban, creates the lovely set - an elegant 19th century interior whose walls are suggested by three huge paintings of gardens and a drawing room, fleshed out with well-appointed Queen Anne furniture. (Props Heather Elizabeth Irish). Michelle Handley executes the attractive costumes, largely using a palette of whites and neutrals, punctuated by some well-chosen splashes of color. Iain Odlin bathes the scene in warm, pastel light, while Hoban handles sound balance. Craig Robinson provides the fine technical direction and Michael Lynch anchors the show as stage manager.

The cast - an ensemble of familiar and new faces - delivers a pitch perfect performance. Their command of the linguistic aspects of the play are flawless - excellent British accents that are consistent and uniform. Brynn Lewallen makes her Good Theater debut in the title role. Her portrayal captures the mercurial and manipulative nature of the character perfectly without losing an ounce of the seductiveness and charm. Joseph Bearor is completely convincing as Charles Vernon, who serves as the voice of moderation, upper class tact and propriety in the play. As his acerbic wife, Catherine, Hannah Daly, delivers ripostes as if they were poisoned darts, all under the guise of unflappable civility. Jay Mack as the rakish but endearing Reginald Vernon makes a strong impression in his Good Theater debut. Veteran company member Amy Roche scores a big hit as Alicia Johnson, the gorgon-like London society-maven (Urbinati's take on Lady Bracknell) who monopolizes the conversation and the spotlight whenever she enters a scene. Nathan Gregory as the delightfully dim and foppish Sir James Martin delivers one hilarious moment after the next. Also in her Good debut, Halsey Redman does a fine job of portraying the two sides of lady Susan's daughter, Frederica - willful and rebellious and then ebullient and charming.

The Good Theater has always been one of Maine's brightest theatrical lights so their return to Munjoy Hill is ample cause for celebration, in and of itself. But to make such a striking, classy, and exquisite re-entrance with such a polished new work is an occasion truly worth marking.

Photo courtesy of Good Theater

LADY SUSAN plays at the Good Theater, 75 Congress Street, Portland, ME from October 20 -November 14, 2021 207-835-0895 www.goodtheater.com

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