If you are interested in a play about the interweaving of relationships in a very dramatic family, look no further than the Geffen Playhouse and Manhattan Theatre Club's co- production of Donald Margulies’ “The Country House” at the Geffen Playhouse in Westwood running through July 13th.
The story of a family of performers who get a refreshing and new perspective of how they fit into each other’s lives, is inspired by playwright Anton Chekhov’s pastoral comedies.
This play, which is headed for MTC and Broadway in the Fall, is a masterpiece. It underscores and understands relationships the way a teacher does a proper noun on the blackboard: deeply and intuitively.
The six characters here interact with the wisdom, intelligence and sensitivity of resistance fighters in WWII. They may not trust each other all the time, but the need and desperate longing to at least comprehend and admire each other for who they’ve become is evident in every breath.
This is a play about a family coming together because of a loss, and that underbelly is well stroked and fed.
Margulies rises above the tragedy for most of the play, only falling into the trap of self-pity towards the end of Act Three.
The writing is brilliant. Always sharp and witty, the words somehow take on a life of their own. Flying above this scenic and important playhouse like fairies, they collect more mileage and humanity as the play moves forward.
Margulies is a master at using language to create family among disparate characters who might not otherwise even bother to bond. These six need, want and must relate to each other in some way.
Pultizer Prize winner Margulies also captures the debate between commerce and art like a razor sharp knife, and cuts through what others might construe as an idealistic, or at least sunny, view of show business and the city it is located in: Los Angeles.
In this, his sixth production at the Geffen, Margulies goes to every length to define humor, nature and human spirit with an unerring arrow flung from a piercingly honest bow.
The direction by Tony winner Daniel Sullivan is also formidable. Keeping the direction crisp and fresh, he molds an atmosphere or ambiance where these characters can thrive.
By staying out of the way of the actors, he places them all closer to each other.
The gifted cast seems keenly chosen for what they can bring to each of their roles.
Sarah Steele (Susie Keegan) gives a riveting and intelligent turn. Hers is a rising star.
Emily Swallow (Nell McNally) has a God given inner and outer beauty that adds to her portrayal. Swallow is as light as a feather on stage, but remains in your memory like a bold Redwood.
David Rasche (Walter Keegan) gives a towering performance that will stay with this critic long after he walks out of the theater. Rasche is the guy next door, only with a porcelain prime voice and staggering stage presence. His entrance is when the play really gets going.
Eric Lange (Elliot Cooper) hits the sarcastic notes of his character like Leonard Bernstein at a Stephen Sondheim marathon. But in between the anger and frustration, Lange presents us, the audience, with a character that must be dealt with for better or worse. Lange displays the ability to touch you on more than one level, and that is why his role is a pivotal lynchpin in the play.
Scott Foley (Michael Astor) brings his trademark good looks and sex appeal to the proceedings. But Foley also shows a depth and vulnerability one may not catch in his starring role on television’s “Scandal.” It is this purity that not only makes Foley exciting and interesting to watch, but will, this critic hopes, put him on more stages in Los Angeles.
Blythe Danner (Anna Patterson) scores big here as the relaxed matriarch of three generations of a family. Danner never once loses her way through the battlefield that is motherhood. Her motivation and purpose remain resolute throughout. This is a brilliant actress at the height of her powers.
All in all, the highest compliment one can pay “The Country House” is that its six characters begin, after a while, to feel like family. Whether the play was intended to be written with that noble and contrite a style and substance is unimportant. What matters is that this country house could be built anywhere, but still change you forever.
PERFORMANCE SCHEDULE
Tuesday-Friday-8 p.m.
Saturday-3 p.m. and 8 p.m.
Sunday-2 p.m. and 7 p.m.
TICKETS
$37-$77
INFORMATION/ADMISSION
(310) 208-5454
LOCATION
The Gil Cates Theater at the Geffen Playhouse
10866 Le Conte Avenue, Los Angeles, CA 90024