Witty, Elegant Misalliance

Misalliance

Directed by David Wheeler

At the American

Repertory Theatre

Through March 7

Misalliance is a play without plot. There is certainly no lack of satire in it, but the piece is ruined for the viewer if the cast and director make the mistake of reading too much into this lesser-known George Bernard Shaw masterpiece. Fortunately, the American Repertory Theater has, for once, refused to take itself too seriously, and its production of Misalliance reflects this admirable restraint. This is Shaw with the entertainment left in.

The play depicts a nouveau-riche family, the Tarletons, who has made its fortune selling underwear. When the Polish aviatrix, Lina Szczepanowska, drops out of the sky and into their home, their apparently banal existence is disrupted. Besides a few tangential plot twists--such as the miscellaneous antics of a son bent on revenge, an oversexed daughter and an amorous Lord--the play is a drawing-room comedy and consists mainly of idle conversation.

The stage perhaps takes understated symbolism just a little too far. Props, costumes, walls--everything is white, the white of outmoded Edwardian prudery. An iron lattice like the bars of a cage, also white, forms a backdrop. By providing so much evidence of the family's obsession with respectability, the stage manager insults the viewer's intelligence.

After the arrival of the red biplane in the ordered midst of the family, however, the stage takes on a surrealistic disarray. The uprooted plants in the greenhouse float eerily in mid-air, while the displaced iron lattice remains at its impossible, displaced angle, leaving a gaping hole in the barrier between the isolated little community and the outside world.

The characters are interpreted with Shavian wit and style. Mr. Tarleton is especially striking. He is played by Jeremy Geidt, who exudes to perfection the jolly vulgarity of a man who kisses his wife too loudly, a man who drops his "h"'s and speaks with the accent of a true-blue Cockney. He has the reverence for learning of a man whose own education has been rudimentary, and he gleefully refers to Ibsen, Walt Whitman and Kipling with would be casualty. Unashamedly unfaithful to his wife, he has no qualms about attempting to seduce the dashing Polish aviatrix who has dropped into his greenhouse, and into his "evergreen heart."

The aviatrix, played by Candy Buckley, manages the part quite well, given the rather stereotyped "fearless Nadia" role that Shaw created for her. With her contempt for the romantic, her functional masculine clothing and her lithe, muscular body, she is not so much a character as a symbol of Shaw's perfect woman.

Hypatia Tarleton, played by Stephanie Roth, isless impressive, at least at the start of theplay. Both her irritation and her good humor seemforced and rehearsed. Furthermore, she becomesstiff and wax-faced when she does not have to playa part in the conversation. When she is on centerstage, however, she is captivating. Her lustfulpursuit of any man who refuses to worship her andher total disregard for conventional morality makeher especially convincing as the "hard, crude,dirty minded" Hypatia.

Among the minor characters, Julius Baker(a.k.a. John Brown) is worth watching out for.Played by Thomas Derrah, he portrays to perfectiona wimp with a social conscience. He is a walkingcontradiction, unable to reconcile his need to"affirm his manhood" with his belief in theequality of the sexes. Royal E. Miller, playingthe aviator Joey Percival is also riveting, as hetreads the fine line between gentleman and brute.

Misalliance and Morality

Two of Shaw's themes have been given greaterprominence in this production--the morality of sexand the "misalliance" between parents and theiroffspring. Shaw's emphasis on politics seems tohave been toned down, especially in therepresentation of the anarchical Julius Baker. Thedirector has given less importance to hissocialism than to his drunken revelry.

The social commentary and symbolism is notlikely to linger for long in your mind, however.It's the little touches which are far morememorable, such as the incongruously macho red bowtie of Hypatia's snivelling fiance, Bentley, andthe palpable hesitation of Johnny, Hypatia'sboring brother, before he daringly smashes a dishin frustration. The caperings of variouscharacters on, around and over the swing whichadorns the stage are among the most entertainingmoments of the play.

Although the pure conversation inMisalliance may seem boring as a concept,the absence of plot is redeemed by the wit andpersonality of the play. Misalliance is notthe deepest of Shaw's works. And while this lackof depth may keep the play over shadowed by someof Shaw's other writings, Misalliance is anintelligent work and surpasses plays such asMan and Superman and Major Barbarain entertainment value

Hypatia Tarleton, played by Stephanie Roth, isless impressive, at least at the start of theplay. Both her irritation and her good humor seemforced and rehearsed. Furthermore, she becomesstiff and wax-faced when she does not have to playa part in the conversation. When she is on centerstage, however, she is captivating. Her lustfulpursuit of any man who refuses to worship her andher total disregard for conventional morality makeher especially convincing as the "hard, crude,dirty minded" Hypatia.

Among the minor characters, Julius Baker(a.k.a. John Brown) is worth watching out for.Played by Thomas Derrah, he portrays to perfectiona wimp with a social conscience. He is a walkingcontradiction, unable to reconcile his need to"affirm his manhood" with his belief in theequality of the sexes. Royal E. Miller, playingthe aviator Joey Percival is also riveting, as hetreads the fine line between gentleman and brute.

Misalliance and Morality

Two of Shaw's themes have been given greaterprominence in this production--the morality of sexand the "misalliance" between parents and theiroffspring. Shaw's emphasis on politics seems tohave been toned down, especially in therepresentation of the anarchical Julius Baker. Thedirector has given less importance to hissocialism than to his drunken revelry.

The social commentary and symbolism is notlikely to linger for long in your mind, however.It's the little touches which are far morememorable, such as the incongruously macho red bowtie of Hypatia's snivelling fiance, Bentley, andthe palpable hesitation of Johnny, Hypatia'sboring brother, before he daringly smashes a dishin frustration. The caperings of variouscharacters on, around and over the swing whichadorns the stage are among the most entertainingmoments of the play.

Although the pure conversation inMisalliance may seem boring as a concept,the absence of plot is redeemed by the wit andpersonality of the play. Misalliance is notthe deepest of Shaw's works. And while this lackof depth may keep the play over shadowed by someof Shaw's other writings, Misalliance is anintelligent work and surpasses plays such asMan and Superman and Major Barbarain entertainment value