News
HMS Is Facing a Deficit. Under Trump, Some Fear It May Get Worse.
News
Cambridge Police Respond to Three Armed Robberies Over Holiday Weekend
News
What’s Next for Harvard’s Legacy of Slavery Initiative?
News
MassDOT Adds Unpopular Train Layover to Allston I-90 Project in Sudden Reversal
News
Denied Winter Campus Housing, International Students Scramble to Find Alternative Options
One could be forgiven for not expecting “The Way of the World”—a play
from the 18th century that deals with intersecting affairs, complicated
marriage proposals, and attempts to secure inheritances—to be a
punk-influenced romp. But that is exactly what veteran director Mary E.
Birnbaum ’07 creates with her latest (and, sadly, final) production,
which runs through May 5 at the Loeb Mainstage. The show is produced by
Ben M. Poppel ’09 and Aileen K. Robinson ’08, and it satirizes its own
genre, often to hilarious effect.
The story of “The Way of the World,” written by William
Congreve, is, in the best tradition of English stage comedies, highly
convoluted, fairly trivial, and resolved by marriage. The details,
which remain slightly hazy even after the conclusion, are less
important than the characters and their relationships.
The protagonist is Mirabell (Joseph “Jack” Cutmore-Scott
’10), who loves Millamant (Olga Zhulina ’09), whose aunt is Lady
Wishfort (Alison H. Rich ’09). Wishfort has to be married before she
will give her blessing (and her fortune) to the couple, so Mirabell
decides to have an already-married servant pretend to be a lord and
court her.
Wishfort’s daughter and co-conspirator with Mirabell is Mrs.
Fainall (Rachel E. Flynn ’09), whose husband is having an affair with
Mrs. Marwood (Sophie C. Kargman ’08), a woman who is trying to thwart
Mirabell. Wishfort wants Millament to marry Sir Willful Witwoud (Rob D.
Salas ’08), a loud and crass gentryman from the countryside, whose
brother (Barry A. Shafrin ’09) lives in the city and has become a
full-time fop who helps Mirabell with his schemes. Got all that?
The two main couples—protagonists Mirabell and Millamant and
villains Mr. Fainall and Mrs. Marwood—are played expertly and each have
a few great comedic moments. However, they are by and large stuck with
the thankless task of advancing the plot, while other characters reach
ever-greater heights of outrageousness around them.
In particular, Rich portrays the hapless,
desperate-for-marriage, pinheaded Wishfort to great comedic effect, as
does Salas as the uncouth, oversexed Sir Willful. Rich plays Wishfort’s
awkwardness amazingly, scrambling over tables, jumping into arms, and
overturning her huge hoop skirts in misguided attempts at
seductiveness. Meanwhile, Salas barks out his lines about seeing
“foreign parts” and the foppery of the city, swaggering around like a
drill sergeant after about ten drinks too many and stealing every scene
he’s in.
The production cultivates a split personality between a staid
period piece and a more modern sensibility—which works brilliantly,
even if it is a little overly-obvious at times.
Take, for example, the opening of the show, which moves from a
lip-synch of Pat Benatar’s “Hit Me With Your Best Shot” to a classical
piece that plays under the prologue. In the same vein, self-parodying
gags like the announcement of each character’s entrance in the final
scene with a spotlight, a theme song, and a pose are wonderfully
funny—especially because they play off the tone and conventions of the
era’s plays.
Birnbaum’s inclusion of modern elements like rock songs,
rollerblades, and neon lights creates a frivolous, fun atmosphere in
excellent keeping with the themes of “The Way of the World.” However,
other moments, like a fairly long, sexually-charged dance number which
seemed to be included because someone thought the play had gone too
long without anything sexy happening, are less seamless and more
puzzling.
The acting in “The Way of the World” encompasses as many
shifts in mood as its staging does in tone. It is a difficult play to
understand on the page, and even more so when the words are flying by
the audience at breakneck speed. More than in most plays, how things
are said in “The Way of the World” is at least as important as the
lines themselves.
Birnbaum usually has the actors convey the emotions of a
scene at a high emotional pitch, which is hilarious in scenes with
Wishfort or Sir Willful. It is just as powerful in a scene where
Mirabell and Millamant yell over each other to determine the conditions
upon which they will marry, and ultimately rip open their clothes to
sign their contract on each others’ backs.
Most of the time, the acting serves to smooth over confusion
about the details of the plot, rather than exacerbate it. However, in
some scenes with Mr. Fainall and Mrs. Marwood, their emotions seem to
have been picked at random.
While it’s amusing when their dialogue is interspersed with
frantic kissing during a meeting in a park, it’s just plain odd in
other scenes. For instance, at one point, Marwood is in tears as
Fainall chokes her while they attempt to work out a plan to foil the
hopes of Mirabell and Millamant and gain their fortunes.
The artistic design of the play serves to underscore its
indeterminate time period. The costumes, designed by Sabrina Chou ’09,
are roughly period-based in design, but almost all in plain white and
simple fabrics, more suggesting the era than depicting it. Then, of
course there are the occasional appearances of a girl in hotpants and a
red jacket, whom the program identifies as “DJ’s Girlfriend/Fertility
Goddess.” Nearly everyone is wearing layers of white makeup, lipstick,
and a wig, which creates an effect that is equal parts Restoration
Comedy and Rocky Horror.
The set by Grace C. Laubacher ’09 is fairly minimalist, with
tall rolling platforms representing beds and couches and allowing
fantastic entrances from the wings.
Lights off to the sides spelling out “Wit” and “Honor”
continue the theme of the modern intersecting with the old. A clear
plastic screen in back is painted by the cast as the play unfolds,
revealing black patterns printed on it. While this seems to have little
connection to the themes of the play, it is extremely visually
arresting.
Underneath all the makeup, 18th century contract
negotiations, and postmodern touches, “The Way of the World” is at its
heart a hilarious play, made more so by Birnbaum and her actors. It may
require a flowchart to keep up with all the deceptions and plots of the
play, but no effort is required to enjoy the unfolding of its many
schemes.
—Reviewer Elisabeth J. Bloomberg can be reached at bloomber@fas.harvard.edu.
Want to keep up with breaking news? Subscribe to our email newsletter.