The Renaissance Of An American Theatrical Landmark

By June April

WESTPORT — To read the names and see the old playbills, photographs, and posters of the actors who have been in productions at the Westport Playhouse is a visual trip into some of the greatest historical figures of the theatre world. And what is exhibited in the lobby and staircases of the red building at 25 Powers Court in Westport is only a portion of what exists, stored away, in the archives of this theatre.

There was a theatrical rebirth of sorts this summer for the playhouse billed as America’s foremost summer theatre. For those who had not heard, the oldest continuing summer theatre in Connecticut — Westport Country Playhouse — has been revitalized.

This past summer’s productions have featured new leadership in charge. The intent is to grow within the already historical and charming institution, to have it known for offering even greater theatrical experiences than what have been presented over the past seven-plus decades.

Westport Country Playhouse began in 1931 when the odds were against a summer theatre opening in Westport and being successful. Such a venture required someone of rare abilities, vision, and courage. The playhouse had such a person in its founder and first artistic director, Laurence Langner.

By 1930, Mr Langner and his wife, Anna Marshall, had already begun establishing a dynasty in the American theatre. Twelve years earlier, Mr Langner had co-founded The Theatre Guild, and with five other directors had developed it to the most important art theatre in the nation.

As residents of Weston, the Langners continued to search for ways to become further involved with their local community. That way became apparent in the winter of 1930 when the couple purchased a historic barn on property adjacent to Post Road in what was then the fringes of Westport.

In 1959, James B. McKenzie became manager of the theatre, launching a career that would last for 41 years. During his tenure, Mr McKenzie and the playhouse offered plays with such stars as Leslie Caron, Jean Stapleton, Sandy Dennis, Charles Durning, Christopher Walken, Jane Powell, Stiller and Meara, and Fred Savage, among others. Since its opening, over 800 plays and 300 children’s productions have been presented on the stage of Westport Country Playhouse.

Mr McKenzie announced in January 2000 his decision to resign after four-plus decades at the helm of the summer theatre.

“It’s been a good run,” Mr McKenzie said in a press release. “Four hundred nineteen plays and lots of theatrical adventures, but it’s time to produce once again in the commercial theatre, where I really belong.”

And so began the process of revitalizing one of the last remaining professional summer theatres in the Northeast.

This year, it was a collaborative team of six very talented, capable, creative, and motivated women who assumed leadership of the theatrical landmark. Serving as CEO and executive director, Elissa Getto worked with artistic manager Janice Muirhead and artistic advisory council co-chairs Anne Keefe and Joanne Woodward. The other members of the team include general manager Julie Monahan and Elizabeth Morton, who is president of the Connecticut Theatre Foundation Board of Directors.

Now that the season has closed, there continues to be changes at the theatre, these ones involving staff and planning. Elissa Getto resigned in September but will remain connected to the playhouse as a consultant to the education program and other appropriate areas.

The press and marketing talents of Jeff Provost, of Hartford Stage Company, are now being called upon to help assess the direction of the playhouse. Mr Provost is now serving as press and marketing director for Westport Country Playhouse.

“We’re working to determine what the theatre needs to be to this community,” Mr Provost offered, “and the next few months will continue to be a time of planning.”

Some of the major decisions involve what to do with the theatre building itself, which is about 100 years old. There are some who want the building left as is, but there are necessary changes to bring this charming institution up to code.

One consideration is to take some of the seats out of the balcony, which has some visual blind spots owing to existing structural columns, and better use that area for the lighting and sound booth (which is currently located off-stage and makes both processes a bit challenging).

Air conditioning is not a worry at the 706-seat theatre, since the powers that be had the foresight to install it 50 years ago. “That was one of the attractions then,” laughed Mr Provost, “besides the great stars that appeared here.”

The Season In Review

Of the six productions selected by the staff at Westport Playhouse, some were stronger than others yet each had aspects that were worth both the time and cost of the tickets.

The season opened on June 12 with Somerset Maugham’s The Constant Wife. Audiences enjoyed fine directing by Joanne Woodward. There was something of the spirit of George Bernard Shaw’s wit in this play, which dealt with double standards of morality. The timing, sets, costumes, and acting were all very good, thereby setting the season off on a good note.

Next was a new play by Austin Pendleton, Orson’s Shadow. It was not particularly well received by most audiences or critics. The play pre-supposed knowledge of the personalities and interactions of famous theatre people, among them Orson Welles, Kenneth Tynan, Vivien Leigh, and Lawrence Olivier.

The lighting design served to detract from the play, and the ominous sense was overdone. There was too much emoting, and the characterizations were stiff.

Play number three, Ancestral Voices, by the prominent and successful playwright A.R. Gunrey, was presented as a reading. Though this received a far more favorable response than its predecessor, an unfortunate controversy left many rather displeased.

The problem was there were two different casts performing the play. Cast A read during the first week, and the talented actors performed admirably but not exceptionally. Cast B included Paul Newman and his wife, Ms Woodward, and this was the group everyone seemed to want to see… but tickets for the second cast were sold out early. Critics could not do a comparative review and there were unhappy mutterings about this, but the imperfect storm was weathered and the shows went on.

David Wiltse’s new play, Triangles for Two, had some very funny segments. It was a play that was neatly interwoven even with three very different vignettes.

The two actors, Jayne Atkinson and Jeffrey Jones, were superb. Their timing bordered on elegant, especially in the second segment, “Otis Proposes.” Triangles is a beautiful piece of writing full of humor and pathos; a very enriching experience.

Morphic Resonance by Katherine Burger is a play with potential. In Westport, the chemistry between some of the actors was not as credible as one would have liked. The play was interesting, but too long.

On an intellectual level, however, this proved to be one of the more intriguing plays of the season. With sensitivity and insight, it dealt with death and dying, commitment and dreams. Right now it calls out for judicious editing to tighten up its story.

Concluding the 2000 season in September was a play that seemed to put a smile on just about everyone’s face. In the wise tradition of saving the best for last, the new original musical Nicolete and Aucassin proved to be a memorable, thoroughly delightful, and enjoyable experience on every level. This is a show that will undoubtedly find its way to Broadway, or just off-Broadway.

Both the book and lyrics were written by peter Kellogg, and David Friedman composed the music. There was clever rhyming, beautiful melodies, with meaningful lyrics, fabulous acting, great sets, fine lighting, wonderful costumes... it was truly one of the most outstanding new musical theatre events seen in many a year.

One of the musicians mentioned in passing that Nicolette and Aucassin is actually still a work in progress. It is difficult to imagine what could be done to improve the already terrific score.

The 2001 season will have five rather than six plays offered, with each production granted a longer run time — 21 instead of 16 performances. Show times will be slightly modified, and there will be two Saturday shows rather than one.

Joanne Muirhead says there is now a pride among the playhouse’s staff in what this first season under new management has brought to the public.

“One of the goals was to challenge people and to offer a variety of theatre experiences,” stated the artistic director, “with the focus on the introduction of newly-emerging plays.”

Now that the inaugural season is over, fundraising becomes the primary focus in order to accomplish some of the much-needed renovations needed to turn the theatre barn into a year-round theatre.

“We want to grow as well as maintain our audience,” said Ms Muirhead.

The current goal of raising $1.5 million is what has been proposed to build a solid foundation before taking the leap of turning from summer to year-round theatre. With subscriptions at about a 50 percent increase, and audiences filling or almost filling the theatre to capacity, this has been an initially successful season even on just that basic level.

Overall this was a most successful first season for Westport Country Playhouse in that ideas were articulated, and interesting themes and issues were explored. Even if everyone wasn’t thrilled, there were discussions. And isn’t that what theatre is all about?