Ah, the Follies of Age


Reviewed 4/18/04

There are very few times I can report that an ensemble effort is an even affair, one where there is no visible break between the levels of the performers, but such is the case of Phoenix Theatre's current production of Paul Osborn's sweet piece of Americana, Mornings at Seven . No one actor of the group of nine stands out as being either poorer or stronger than the other. Such balance of strength helps propel these types of ensemble pieces, so it's no small thing when I say that this type of ensemble work exists. This isn't a deep, meaningful script or one that will make everyone howl with laughter, this is rather the type of feel-good production that leaves everyone with the warm fuzzies. Being able to bond equally with all who share the stage is the greatest compliment one can give.

Set in 1939 somewhere in small town America, four senior sisters come to terms with growing old, growing up, and growing closer. Esther (Peggy Lord Chilton), Ida, (Pamela Fields), Cora (Jacqueline Gaston), and Arry (Betsy Beard) all live within a few blocks of each other. Youngest, husbandless Arry lives with Cora and her husband Thor (Roberto Guajardo), eldest Esther lives down the block with snobby, disapproving husband David (Jack Ritschel), while earnest Ida lives next door with her despondant husband Carl (Bill Estes) and her momma's boy son Homer (Chris Vaglio). When Homer brings home the woman to whom he's been engaged for seven years(!), sweet, unpresuming Myrtle (Robyn Allen), it sets into motion a series of revelations and machinations among the families that threatens to split marriages and separate siblings.

It's impossible to point out one performance as being exemplary, as they all are completely in synch. A lot of the credit can be given to director Karla Koskinen , whose stage pictures and blocking are only part of her work in crafting a comfortable relationship among all of the actors. She allows each individual actor to live their character arcs and maneuver their way through each of the thorny situations. The endearing and cantankerous elements of all characters are evenly presented, allowing for immediate empathy with all of them.

Gregory Jaye's scenic design captures the intimacy and claustrophobia of the two houses ingeniously, while Michael J. Eddy's lighting compliments the timing of the scenes. Lois Myers' simple costumes capture the essence of the era and characters, while Jennifer Bernard's sound design, while bereft of the natural sounds of the setting, does include some great standards of the pre-war period.