The setup:
Heartbreak House is one of the early masterpieces of Bernard Shaw - he dropped the opening name "George", though it has a life of its own, and refuses to die; Shaw is often referred to as "GBS", and the play program here retains "George". The play is rarely produced, partly because it is very complex, and partly because it is set in 1913, just before the outbreak of World War I, and seems dated. It is a wonderful comedy, filled with attitudes of the deepest and most delightful cynicism - these are highly relevant today - and Main Street Theater has done us all a favor by reviving it.
The execution:
There are so many full-blown and important characters that it's fair to say the main character is the director, who marshals a horde of actors into polished performances. Here it is Rebecca Greene Udden, Executive Artistic Director of Main Street Theater, and she has found the comedy's rich humor, and the sardonic wit, and created wonderfully the impression of a large estate on the tiny stage available to her.
The estate belongs to Captain Shotover, played ably and with significant authority by Charles Krohn. It is a crucial role, and one Orson Welles - in his early 20's, aided by a white beard - played in 1938 in a production produced and directed by him. It's made clear that Shotover savors his rum, though he never seems intoxicated - it probably just helps him think more clearly. He is forgetful and we are led to think he is in his early dotage, but his views are often wise, and he fares best among the men as having his head screwed on correctly. He does, however, wish to blow up the world. The women have almost a monopoly on wisdom, as they, like skilled puppeteers, manipulate their men.
Shotover's older daughter, Hesione Hushabye, who lives on the estate, is portrayed by Celeste Roberts, in a truly magnificent performance. She commands the stage with charm, sailing through the play like a tall ship with the wind behind it. Every time she entered, my expectations rose, and they were never disappointed. She is married to Hector Hushabye, dashingly handsome, and played by Joe Kirkendall, who fits the role like a glove. It is a minor part, but Kirkendall makes the most of it, and is persuasive in his philandering.
The extra-marital courtships are taken in stride - no one points a finger in shock - and that is one of the delightful aspects of Shaw's cynicism. He makes clear that marriages are liaisons meant to achieve power, or money, and are not necessarily affairs of the heart. That can be done on the side.
One plot element is that Ellie Dunn (Joanna Hubbard) has been invited to the estate, in order for Hesione to dissuade her from marrying Boss Mangan (Jim Salners), an older man but apparently very wealthy. Salners is outstanding, and handles a truly complex role with dexterity. Ellie is marrying for security - her family is bankrupt - but is really in love with a dashingly handsome man - you guessed it - Hector Hushabye, who has been courting her under an assumed name. Ellie is naturally taken aback to discover, when Hector enters, that she has been toyed with - men!
Shotover's younger daughter fled the estate as a young woman, but now returns for the first time in decades as Lady Ariadne Utterword, married to a powerful and influential man. She is meant to be stunningly beautiful, and indeed she is, as portrayed by Elizabeth Marshall Black. It is thus largely inevitable that she will be drawn to the physical charisma of Hector, and he to her, and that they will pursue a dalliance. Lest you be shocked, and think "And in Hesione's own house!", you should know that Hesione couldn't care less.
This story continues on the next page.
