The Heiress
Henry James’s novel, Washington Square, was written in
the late 1800s. In 1947 Ruth Goetz
and Augustus Goetz adapted James’s novel for the Broadway stage calling it The
Heiress. It tells the melancholy
story of a lonely young woman struggling reluctantly to find herself through
the appreciation of others.
The proscenium is cloaked with a beautifully painted drop
depicting the toney New York City neighborhood of “Washington Square 1850.” It is very impressive. We then
discover John Iacovelli’s gorgeous set, an elegantly beautiful reproduction of
a Victorian townhouse in Wedgewood Blue. Leah Piehl’s fantastic costumes,
especially for the women of the company in change after change, with every
detail attended to; antique furniture reflecting the wealth of the good
doctor’s success; all extend the promise of a classic piece of theatre.
Fair warning has been announced that the play with an
intermission will run almost three hours.
Polite applause by the invited audience as the stars make their entrances
is traditional. We meet the chilly patriarch, Dr. Austin Sloper (Richard
Chamberlain) as he discusses the issue of daughter, Catherine’s (Heather Tom),
inept social graces with his sister, Aunt Lavinia (the excellent Julia
Duffy). Soon we are joined by
Catherine and the slow and deliberate movement of exposition begins.
The first honest moment of the play is expressed by a five
second dash across the stage. It’s the completely professional Elizabeth
Tobias, as Maria, the crisp and efficient maid. Unfortunately, The Heiress is not about Maria.
The plot moves slowly, possibly by director Tàmaso
Rodriguez’s design. And, though presented in beautiful images, the story of how
Miss Sloper is swept off her feet almost immediately by the fortune hunter,
Morris Townsend (slick Steve Coombs); spurred on by the romantic notions of
Aunt Lavinia, and all, it takes much too long to tell.
Chamberlain cuts a fine figure on the stage, handsome, yet
hard pressed to give love to Catherine, whom he blames for the death in
childbirth of his beloved wife. The doctor’s knowledge of his own impending
death, “I am never wrong about these things.” he says, elicits a fine audience
response. And, then, time passes. Townsend
returns (in the novel as a fat and balding ne’er do well, but in the play not
much the worse for wear) to give it one more shot with Catherine, only to be
unkindly snubbed. Pace was the issue on Opening Night. Hopefully, as the show progresses, the
energy will pick up.
The Heiress
By Ruth Goetz and Augustus Goetz
The Pasadena Playhouse
39 El Molino Avenue
Pasadena, CA 91101
Through May 20, 2012
Rush Tickets available one hour before curtain: $15.00
Tickets $29 to $59.00
Premium Seating $100.00
For performances and information:
626 921 1161
www.PasadenaPlayhouse.org
