HERE’S THE STORY ON PHILADELPHIA
(Theatre Reviewer: Robert Cox)
October 2, 2009
Peninsula Community Theatre’s second show of this season opened on Friday night. Philadelphia Story, a 1939 play by Phillip Barry, and is brought to us under the direction of Linda Marley Smith. Most of us are familiar with the film version of this play which was produced a year later in 1940 with a collection of the then, top box office attraction stars.
Hmmm… a hard act to follow, even 70 years later.
The play is a moralistic look at the upper class life and values of Philadelphia society during that era. It is designed to make us stop and think about the haves and the have-nots and the values that drive both. A dry subject, especially when presented in such a dated script; and particularly when not powered by the likes of Cary Grant, Katherine Hepburn and James Stewart.
Sharon Hollands turned in an admirable interpretation of the leading character, Tracy Lord, a middle-aged Philly socialite heading for a second-time-around marriage. The development of her characte was accurate and believable as she bounced around among the romantic interests ofher ex-husband, played almost convincingly (we would have liked to have hated him a bit more), by Justtin Giroux; her fiance', played with stability and suitable drollness (we would have liked to have liked him a bit more), by Matt Gilbert and an unexpected contender, a magazine writer adeptly characterized, (we are expected to like him regardless), C.K. Hull (who always comes up with the goods for the audience).
Forming the perimeter around the battleground are the assorted members of Tracy’s family. Brother Sandy, (Tom Recchia), father Seth, (Clayton Hill) and Uncle Willie, (Bill Davidson) all receive kudos for nicely done portrayals, all of which seemed comfortable and convincing.
Mother Margaret (Betty Zattiero) provided a bit of a troubled matron-like stability for Tracy and the family, while sister Diana (Emily Bradfield), pinged her way around the stage with ample energy, giving us a youthful outlook onto the foray. Jessica Krop was refreshing as Liz, the cute, tag-along photographer partnered up with the magazine writer. The script left us unsure of her role as she snapped her way through the show.
What we wind up with is somewhat of a contrived outcome which gives the feeling that the whole story was cooked up just so it could be solved. Confusing and not too believable - maybe a slow day at the typewriter for Mr. Barry.
My “morning after” thoughts on the production prompt me to a couple of
observations: First, the set for this show was a definite compliment to the play. It was well thought out, tasteful and provided the impression of refined wealth, on such a level that did not distract from the play or players.
It would have been very easy to overdo this aspect of the show but Linda Marley Smith and Ellen Eames made perfect decisions in their design strategy.
The second observation concerns what proved to be a distraction throughout the show. Movement and position of actors are vitally important in any play which relies heavily on dialogue. Too often during this show I found myself looking at the side profiles and the backs of actors as they delivered lines, due to the positioning of actors on the stage. And, though lovely, Tracy’s hair frequently blocked her face, detracting from expression and speech. Sometimes less is more, when it comes to stage movement.
It is difficult sometimes to follow up a well known, star-filled classic movie with the original stage play. But it too, it gives us an opportunity to see a different aspect of what the author intended in his original work.
You will enjoy this show, but take it on its own merits. It is a classic example of a fine blend of drama, comedy and message, presented in good fashion on the PCT stage. Tickets are available for performances through October 18th. Click here for details: www.pctlive.org
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