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.

Cornelius **

This Finborough Theatre production of J.B. Priestley's virtually forgotten 1935 play now at 59E59 in their Brits Off Broadway series received uniformly glowing reviews in London and a rave from the New York Times. This story of a small aluminium importing firm struggling unsuccessfully to stay afloat during the Depression revolves around partner James Cornelius (Alan Cox), who puts on a brave face to keep up the morale of his staff and fend off the creditors until his partner Robert Murrison (Jamie Newall) returns from an extended business trip that is the firm's last hope for survival. Longtime bookkeeper Biddle (the excellent Col Farrell) is a man who loves his work and manages to maintain a positive view of life. Secretary Miss Porrin (Pandora Colin) is an embittered spinster with an unrequited love for Cornelius. Lawrence (David Ellis) is frustrated by his dead-end five-year stint as office boy. Judy Evison (the lovely Emily Barber), a feisty typist filling in temporarily for her sister, elicits Miss Porrin's hatred and strikes a long-dormant chord in Cornelius. Vendors with increasing degrees of desperation visit the office to peddle their wares. Murrison returns from his trip half-crazed and broken. When the play concentrates on how different people deal with adversity, it is on solid ground. Unfortunately, it too often resorts to workplace cliches and, near the end, a very unlikely coincidence. I did not find Cornelius, at least as played by Cox, a convincing character; his various traits did not cohere. It was a pleasure to see a fine ensemble of 12 sharing the stage, but the play ultimately lacked bite. David Woodhead's set and costumes are excellent. Sam Yates's direction is assured. To call Cornelius a forgotten masterpiece would be a gross exaggeration. Running time: 2 hours, 20 minutes, including intermission.