Seattle Review: The House of Mirth

*****broadwayworld.com Pick*****

There is much gladness and gaiety coming from the Center House Theatre. Book-It closes their season with an inspired adaptation of Edith Wharton's classic 1905 novel about wealth, sex, and manners. Under the confident direction of Jane Jones, this House of Mirth is a cerebral wonder. A stunning leading performance highlights one of the best offerings of the year.

Our heroine Lily Bart is a flawed creation struggling to fit into a society that attracts and repulses her. Set in the social circles of New York City/>/>/>/>, The House of Mirth follows Lily as she encounters backstabbing, intriguing propositions, and extreme loss. When Lily gambles away her allowance, she begins to take the company of wealthy men that she does not desire. She soon chooses a working class existence over monetary happiness. Marcus Goodwin's precise adaptation cuts to the chase. He gets to the root of Wharton's world. This is Lily's story.

Wharton's text still remains insanely topical. Lily is no different than the socialites of today. What happens when monetary and emotional happiness conflict? Lily is attracted by the perks of high society, but unwilling to settle for a man she does not truly love. Wharton stresses the importance of self. Are the expectations of others more important than personal happiness? Anyone who has found difficulty fitting into a box full of expectations is sure to be drawn to this material.

Jones' exquisite direction plays like a trance. She keeps things firmly rooted in Lily's mind. There is an immediacy to this production that makes for a gripping page turner. The sense of unpredictability throughout glues us to Lily's fate. Jones digs deep into a society full of judgmental stares. Gossip spreads quickly. Even close companions are not to be trusted. Jones once again proves that she is the best choice to execute the tricky Book-It style. She moves her actors like leaves caught in a brisk wind. Her knack for stage movement is complimented by a deep understanding for the material. Jones captures every nuance of Wharton's world.

Jennifer Lee Taylor is perfection as Lily Bart. She gives a captivating performance full of honesty and intelligence. Taylor/>/>/>/> isn't afraid to show the ugly side of Lily She fills each moment with a newness that is quite wonderful to watch. Her organic style fits Jones' direction perfectly. Taylor/>/>/>/> makes Lily's fate the cornerstone of this production. She allows us to love and hate her throughout. A moment where Lily is revealed as a living statue is quite marvelous. This is truly gripping work from one of Seattle/>/>/>/>'s strongest leading ladies.

Taylor/>/>/>/>'s core performance is aided by a gifted ensemble. David Quicksall is handsome and charming as Lily's true love Lawrence Selden. Lily ignores her hearts urges, repeatedly leaving Selden/>/> for a flashier offer. Taylor and Quicksall fill their scenes with potent chemistry. Eric Ray Anderson offers some of his best work to date as Lily's malicious backer Gus Trenor. A scene where the married Gus lures Lily into hies study is the peak of this awesome mountain. Anderson/>/>/>/> makes Gus appropriately loathsome, but also provides a unique vulnerability. Shana Bestock provides a great Gerty. She makes Lily's best friend an eager to please companion with a twinge of painful envy. The large ensemble is uniformly strong. The most impressive work comes from Melissa D. Brown's mysterious Grace, Todd Licea's wisely conceived Rosedale/>/>, and Teri Lazzara's betrayed Judy. Everyone is on the same glorious page.

Mathew Smucker's circular platform set allows Jones' movement to thrive. The spinning nature of his design is utilized fully as bodies flow effortlessly across the stage. While Smucker's work provides a blueprint, Jon Harmon's lighting gives texture and independence to the various locales. Harmony Arnold/>/>/>/>'s gorgeous costumes are more suggestive than literal. This choice adds to the theatricality established so well by Jones. Dan Dennis' absorbing sound design plays like a cinematic masterpiece. Live musicians add another dimension.

Book-It's The House of Mirth is an emotional rollercoaster that dives deep into the human mind. Wharton's tragic tale is filled with unavoidable obstacles that still exist one hundred years later. Jones has created a rich production that reminds us of the equal powers of the page and the stage.

The House of Mirth runs through May 13^th. For tickets call (206) 216-0833, or visit www.book-it.org

Eric Ray Anderson as Gus Trenor and Jennifer Lee Taylor as Lilly Bart

Photo by Eric Struhaug

 

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