Actors' Renaissance Theatre's Artistic Director James K. Barnard is a very well-versed individual. This ASU prof is mounting a production of an Oscar Wilde play that never trots the boards (despite a recent film version), An Ideal Husband. There is admittedly some reason for this obscurity, including the requirement of at least a slight familiarity with the history of late 19th century British politics. Still, this is Wilde, and there are hilarious situations and wonderful quips that have been left unspoken on the stage for too long. While the script is repetitious (how many times do we need to adress Sir Robert's "youthful indiscretion?") and swayed too neatly by Victorian mores (the second letter/scandal is a bit of a stretch, even by 19th century standards), it still contains the biting Wilde satire that can make an audience apoplectic with laughter. ART's production does have a few flaws that are more than script-related, but it also has a rollicking second act that overcomes most of these gaffes.
Sir Robert Chiltern is an oddity of British public life: an honest politician. It is this honesty that keeps his pretty and ambitious wife Gertrude so happy. However, when the shifty canal investor Mrs. Cheveley threatens to reveal a "youthful indiscretion" in the form of a scandalous letter in order to get him to change policy, Sir Robert enlists the help of his best friend, Lord Goring. Despite being considered the idlest man in London by his father Lord Caversham, Lord Goring attempts to set everything right, while wooing Sir Robert's sweet sister, Mabel.
I am of two minds about the art of an actor/director, and some of Mr. Barnard's actions prove the downside of directing yourself onstage. In some scenes in which Mr. Barnard is a part, there are basic blocking problems such as actors upstaging themselves or others that would have been noted and changed by an offstage director. The pacing on the opening Saturday night was inconsistent, with some sections raced through, and others performed at a more lackadaisical gait. There is also a directorial choice that does not seem to work. Mostly in the first act, the scenes involving the scandal are presented with a very heavy hand, without any attempt at humor, while the humorous parts suddenly spring up with the barest of warning. The result is a soap opera styling with sudden switches to comic relief. Fortunately, by the second act, comedy and intrigue blend, and the entertainment level rises accordingly.
Despite these problems, there are several commendable performances. Perhaps owing to their consistency as comedic characters, Mr. Barnard's Lord Goring, Drew Kallen's Lord Caversham, and Ashley J. Barnard's Mabel are bright spots for the evening. Mr. Barnard would initially seem an odd choice for a fop, yet the offhanded delivery of his enjoyable lines, and his clever costuming by the unbilled designer make him an enjoyable rogue. Mr. Kallen is all stuff-and-bother as Mr. Barnard's dad, while Ms. Barnard's characterization of the typical Wilde woman, all sass and common societal nonsense, is a pleasure to watch. Cute, too, is Jackie Hayes' performance as Lady Markby, who gets to toss some of those great Wilde witticisms into the mix.
Despite being stuck more on the intrigue side, the three actors in the scandal triangle do well with their roles. Karen Draper's Gertrude and Belinda Chron's Mrs. Cheverley are very well-presented. Ms. Draper is in command of her language skills, and does well presenting her rather idealistic character. Ms. Chron is seductively evil, and strong in stage presence. Poor Radford J. Mallon is saddled with a stick-in-the-mud part to play in Sir Robert, and has little choice but to either moon about the stage as the victim, or rail against his situation. Mr. Mallon is given little textual modulation by his plight, and his performance lacks shading because of this.
Mr. Barnard's set is wonderful and impressively appointed, bringing to life two English parlors with a minimum of set change. T.J. Weltzien and Peter Bish's lighting is a bit too dramatic, calling attention to itself with quick and major shifts between a more natural light and a strange orange glow that highlights the scenes of intrigue. Barbara Acker's dialect coaching is appreciated, as accents remained nearly consistent throughout.
There maybe those who feel that the first act is too draggy and dramatic, and be tempted to leave at intermission. Don't. If you'll allow for this extended exposition, you'll find yourself laughing heartily as the show progresses while the twist of situations raises and makes more consistent the level of the humor.
Production Details:
An Ideal Husband by Oscar
Wilde
Actors' Renaissance Theatre
The Tempe Performing Arts Center (For a
map to location, click this
link)
(480) 632-0409
August 24th - September 9th, 2001