Laugh it up at Shakespeare Theatre
The first sight that greets you at the Shakespeare Theatre of New Jersey’s production of George Bernard Shaw’s “Misalliance” is a lovely Edwardian conservatory in summer. Brian Clinnin’s set design is simply gorgeous, all dark wicker and pale tile and wide expanses of glass with crepe myrtle blooming in the garden beyond.
This is the estate of John Tarleton in Surrey England, circa 1909. Tarleton made his fortune in underwear — corsets were big business back then — and now he’s entering retirement a wealthy man, although his very proper accent occasionally betrays just a hint of his more humble beginnings.
Tarleton considers himself an educated, well-read person — he often cites sources as he speaks — and he’s devoted his efforts at philanthropy to establishing free libraries for those who can’t afford books.
Now, with this self-satisfied, successful business magnate ensconced in his very lovely country home which also allows us a peek at his own substantial library, it all seems very proper, very staid, very quiet, with everything in its place.
Except, it’s not. Looks can be deceiving. Before the play, directed by Stephen Brown-Fried, is over, one of those new-fangled airplanes will crash into the garden; Tarleton’s beloved daughter, Hypatia, will break her engagement to the son of a lord and dally with the dashing pilot; and a stranger, a young clerk with a mission, will show up — armed, with murder on his mind. That’s not to mention the impossibly fit and robust Polish female acrobat, a passenger in the ill-fated plane, who will nearly steal Tarleton’s long-married heart.
The dictionary defines “misalliance” as an incompatible or unsuitable association, and there are plenty of them here. Not only is the match of the high-spirited, adventurous and slightly naughty Hypatia with the spoiled rotten, tantrum-throwing, squeaky-voiced Bentley Summerhays an obvious train wreck waiting to happen, but all the characters struggle to connect. Of the eight marriage proposals that pop up throughout the action, only two matches actually succeed.
Substituting the conservatory for a drawing room, “Misalliance” has elements of a farce, a comedy of manners, a screwball comedy, and even a bit of theater of the absurd. But, this being Shaw, there’s also some serious social and political messages delivered along with the laughs. Several messages, actually.
Misalliances occur between genders, generations, social classes and various perspectives on how to approach living. Because it was written before World War I, Shaw is still optimistic, and so all the tensions between and among the characters resolve themselves agreeably in the end.
Nevertheless, one can’t help but be struck by the fact that the subjects of debate, including income inequality, the position of women, the efficacy of marriage are, in fact, still being debated. Over a century later, Shaw remains relevant.
Company veteran Ames Adamson holds center stage as a very likable Tarleton. Alternately cranky and reasonable, he has the most to do as he navigates around the other characters who constantly flummox him and throw him off course. Another veteran, Katie Fabel, is coy and winsome as the coquettish Hypatia, clearly her father’s daughter, and Brian Cade provides good support as her snobby brother.
A fourth veteran, Caralyn Kozlowski, now in her 11th season, has the hardest job making the larger-than-life Polish acrobat with the difficult to pronounce name, Lina Szczepanowska, credible and more than just comedy relief.
The rest of the cast is composed of new, fresh faces. Jonathan Gillard Daly is a dignified Lord Summerhays, Tarleton’s aristocratic friend and possible future in-law. Matthew Sherbach is whiny and irritating as the Lord’s son, Bentley, but then, he’s supposed to be.
Robbie Simpson as the pilot who literally drops in is both a charming pursuer and an astonished subject of pursuit. Best of all, are Erika Rolfsrud’s unfussy, unruffled and eminently rational Mrs. Tarleton and Matt Kleckner as the angst-ridden young clerk, determined one moment and indecisive the next.
Tilly Grimes’ costumes match the elegance of the set. “Misalliance” may be second-class Shaw, but this is a top-notch production.
MISALLIANCE
WHEN: Through Aug. 30
WHERE: F.M. Kirby Shakespeare Theatre, 36 Madison Ave., Madison
TICKETS: $15 to $62 (student rush tickets available 30 minutes before performance)
INFO: 973-408-5600 or www.ShakespeareNJ.org