The Heiress

It is relatively easy to judge productions of The Heiress, for in the play itself the last scene serves as an infallible barometer. When Catherine, the plain, painfully shy heiress, decides at last between marriage and spinsterhood, the audience must be completely braced for her decision; they must feel an unusual emotion compounded of pity, irony, disappointment, and pride. Because the actors in Idler's production of The Heiress convey all this and more, the performance is a definite success.

As might be expected, the production belongs to the ladies. Each of the play's six actresses add enough of their own charm so any minor faults are easily excusable. Especially appealing in a minor part is Suzanne Chappell Finch as an aunt of the heiress. And Suzanne Flinton, Dare Taylor, and Elayne Coyne are respectively clever, coquettish, and cheery in their supporting roles. Danielle Holmgren as Aunt Penniman, perhaps acts a bit too much at one pitch. She is a pert, dove-like person but her fluttering should be decreased, as it is in the last few scenes, to achieve a more sympathetic characterization.

Much of the fine support is almost superfluous, however. For as the heiress, Mathilda Hills is superb. She does everything right, with her sweet, shy smile that can instantly freeze to a frightened, embarrassed grimace. This is one instance in which it is the real praise to say that the actress is halting and awkward, for with her clumsy goodness Miss Hills creates a memorable character.

Unfortunately the men in the production do not meet this standard. Arthur Townsend, in a brief appearance, plays as a fop a role which would be more effective done stolidly. And Pirio Macdonald Tutchings, as Catherine's lover, has a good stage voice, but such unconvincing gestures and lack of dash that his performance is negative. As Catherine's father, however, Edward Golden is the exception. He is sarcastic, cruel, and kind as the part demands and yet has developed these contrasting elements into a consistent character.

The direction, also by Tutchings, has been more successful than his acting. The play an adaptation of Henry James' Washington Square, has added more color to James' pastel novella. The people are stronger, and Catherine undergoes a more major change. Tutchings has handled this well. The lighting, costumes, and Miss Hills' own ability all help to make her metamorphosis from a pathetic wallflower to a determined woman believable, despite the quickness of her change.

The set, an over furnished Victorian parlor, adds to the realism, but as I've said, much of this support is unnecessary. The Heiress depends upon good acting, and Miss Hills and most of the cast supply it in abundance.