Time and the Conways

B

Every once in a while, Roundabout Theatre Company surprises me by taking a chance on the revival of a neglected play, e.g. Machinal. To open their current season, they have revived this complex J.B. Priestley (An Inspector Calls) family drama that has not been seen in New York since 1938. Furthermore, they have given it a topnotch production with a superb cast, sensitive direction and a marvelous set design. In it we meet the Conway family — a widowed mother in a provincial British town (a fine Elizabeth McGovern, lately of Downton Abbey) and her six grown children. Hazel (lovely Anna Camp; All New People) is the town beauty. Carol (Anna Baryshnikov) is the youngest and sweetest. Alan (the always excellent Gabriel Ebert; Therese Raquin, Casa Valentina) is the eldest and most likely to be ignored. Madge (a fine Brooke Bloom; Cloud 9) is a budding Socialist. Kay (Charlotte Parry; The Winslow Boy) is a would-be novelist. Robin (Matthew James Thomas; Pippin, Spider-Man), just back from the Air Force, is the apple of his mother’s eye. Among the guests at Kay’s 21st birthday party are Gerald (Alfredo Narciso; Tiny Beautiful Things), a family friend and solicitor; Joan (a radiant Cara Ricketts), a neighbor; and Ernest (Steven Boyer; Hand of God), an awkward businessman newly arrived in town. Don’t be put off by the first act, the weakest of the three, which introduces the characters in the context of an interminable offstage game of charades at Kay’s party. There is general optimism since the Great War has ended and the future looks bright, both for the family as well as the country. In this production, there is no intermission between the first two acts. This is a wise choice as it provides a reason for a breathtaking set change, in which Neil Patel’s classic drawing room is replaced by something more ethereal. In the second act things get much more interesting. We are suddenly in 1937, when we see the many ways that things have not turned out as hoped for almost all of the characters. The disappointments of this rather smug family reflect the disillusionment in the world at large as the promise of peace and prosperity have faded. After intermission, Act III brings us back to Kay’s 21st birthday party in 1919 immediately after the moment we left it. We discover the seeds of many of the developments we witnessed in Act II. It’s an unconventional structure that has an emotional payoff even though it leaves some of our questions unanswered. The play explores the idea that the past, present and future are all taking place simultaneously, but you need not subscribe to that theory to enjoy the play. The cast is uniformly strong, although I do wish Ms. Camp smiled less. I admire Ms. McGovern’s bravery in portraying so unattractive a character. Paloma Young’s costumes are appealing, except for one hideous ball gown. Tony-award winning director Rebecca Taichman (Indecent) negotiates the play’s complexities smoothly. I felt that the production was probably better than the play deserved, that when you strip away the play’s gimmicks, there isn’t enough substance there. Nevertheless, I was grateful for the opportunity to see it in this splendid production. Running time: 2 hours 25 minutes including intermission.

Verité **

I envied the people around me who seemed to be thoroughly enjoying themselves at a preview performance of Nick Jones’s new play at LCT3. From the get-go, I did not buy into the play’s premise — that a mysterious publishing house whose catalog cannot be found on the “normal” internet would offer a $50,000 advance to Jo Darum (Anna Camp), a stay-at-home suburban mom, whose only work is a fantasy novel that took her over a decade to complete, to write a memoir for them. The stipulations are that she make “interesting choices” in her life and write only about things that actually happened. Jo lives with her blue-collar husband Josh (Danny Wolohan) and young son Lincoln (Oliver Hollmann) in the attic apartment of Josh’s sister Liz’s (Jeanine Serralles) home. The comic/creepy publishers Sven (Robert Sella) and Andreas (Matt McGrath) have broad accents that somehow simultaneously combine elements from Scandinavia and South Asia. When the handsome Winston (Ebon Moss-Bachrach) appears, claiming to be a former high school classmate who has long had a crush on her, Jo assumes that he is a ringer, sent by the publishers to help her make some interesting choices. She refuses to join her family for a trip to Myrtle Beach and instead runs off with Winston. Complications ensue. I won’t give away more except to say there is an amusing surprise ending. The tone varies from satire to farce to melodrama. The characters seemed one-dimensional and the theme of illustrating the lengths people will go to achieve recognition seemed a bit tired. Although there were flashes of wit along the way, the play did not involve me sufficiently to care much about the outcome. Andrew Boyce has devised a rotating modular set that works efficiently. (I am still trying to figure out how he managed to change the contents of an onstage refrigerator.) Paloma Young’s costumes are amusingly apt, especially Sven and Andreas’s footwear. Director Moritz von Stuelpnagel’s (Hand of God) direction is uncluttered. Running time: one hour, 40 minutes; no intermission.