Theater Reviews—

Westport Country Playhouse Offered A Consistent Season

By June S. April

WESTPORT — Years of critiquing Westport’s Country Playhouse summer offerings has led to seeing a pattern with its productions: one or two really excellent theater experiences, a tried-and-true classic, and then a few that leave both audience and critics less than thrilled. This season, however, the balance was far more enjoyable and consistent than in past seasons.

Light and entertaining but somewhat worn was the opening production, Noel

Coward’s Hay Fever. It’s not that critics are allergic to old faithfully recognized works by talented playwrights. It’s just that there is much that is new and more relevant.

Hay Fever has that same sense of ennui that is captured in The Great Gatsby: the sad life of the filthy rich eccentric family, which is amusing nevertheless. David Gordon’s set design was quite spectacular, and the costumes by Linda Cho were visually delicious. The lighting skills of Christopher Landy served to enhance it all.

A new play by the ever-inspiring playwright David Wiltse entitled The Good German was, for this critic, the finest hour of the Country Playhouse’s offerings. Powerfully acted by Kathleen McNenny, Victor Slezak, Boyd Gaines and Casey Biggs, the sensitive directing skills of James Naughton created an evening that challenged the mind and kept viewers at the edge of their seats – which is exactly what many hunger for.

Universal issues including trust, human inter-dependence, survival of an individual’s dignity, and the impact of people who reach out at risk to themselves to help others were all addressed so that the play was not dated, in spite of its time period. In a sense, it’s a morality play, but it is also spelling-binding theater.

The set design by Hugh Landwehr, effectively lit by Clifton Taylor, added greatly to the credibility of the period and the mood of the scene.

Having seen The Old Settler before at another regional theater, this critic came with little enthusiasm and few expectations. But this was a lesson in being open-minded, for Westport’s was in fact a more exciting production than had been seen previously, and, turned out to be quite enjoyable and poignant.

The script speaks of hope, dreams, and true love, and it was most effectively delivered by the four actors – Brenda Thomas, Tina Fabrique, Cherise Boothe and Edward O’Blenis.

Well-written, the layers of the play unpeel to reveal the depths of pain in the relationship of two sisters. The role of Husband Witherspoon could easily be made ridiculous, but Mr O’Blenis, under the direction of Tazewell Thompson, brought alive a naive character who is learning about relationships.

The ambiance of the Harlem apartment could almost be smelled as well as seen. Set Designer Donald Eastman helped The Old Settler come alive from across the footlights.

The impact of the American playwright Arthur Miller cannot be disputed. Anyone who has seen Death of a Salesman, The Crucible, Incident at Vichy or A View from the Bridge cannot deny that they came away from those plays moved, maybe even transformed to some degree.

No less is that force with All My Sons. As with all of Miller’s plays, the foibles of mankind are looked at under glaring light, but also with a touching understanding of the human psyche. He pricks our social consciences.

A stellar cast that included Richard Dreyfuss and Jill Clayburgh created sold out houses for this production. The finest characterization was Sam Trammell’s as Chris Keller, the brother living within the shadow of his deceased older brother. The depth of his pain and disillusionment was brilliantly molded by director Doug Hughes, whose sense of Miller’s unspoken words is as powerful as the spoken ones.

The final production of the 2003 season was quite a delightful evil vs goodness musical entitled The Streets of New York. It was funny and memorably Keystone Kops and The Perils of Pauline all wrapped into one. Its choice was particularly meaningful in that it was performed as the opening production of Westport Country Playhouse’s first season back in June 1931.

There was also a mix of sadness and excitement for the company this summer. The venerable theater building that encompasses a rich history of talent and theater is about to be refurbished. Major renovations will give rise to an expanded and upgraded playhouse. In the meantime and in true show business spirit, the plays will go on, but with fewer offerings next season (two) and in a temporary location Ridgefield’s Playhouse for the Performing Arts.

At a closing press conference in August, Playhouse Artistic Director Joanne Woodward encouraged people to enjoy the transitional locale in Ridgefield.

“It’s a lovely place to spend an evening, with great shopping and restaurants,” she promised. “We invite our loyal audience to come with us on this magical journey, full of wonderful surprises.”