Once again, the play to see at the Shaw Festival this year (2012) is one of Shaw’s own. Misalliance is a great-looking show with a razor-sharp cast that misses none of Shaw’s subtle wit and wisdom.
I couldn’t help thinking that Shaw must have felt pulled in different directions at the point in his career when he wrote this play. The old socialist obviously wanted his plays to popularize his radical ideas about social welfare, the family, religion, and so on. But by 1909 he was Britain’s most entertaining playwright. How much social philosophy can people stand in a play, he must have pondered, before he’d have to insert a joke, a bungling burglar, or a chase scene?
In the “make them laugh” camp is Misalliance’s Johnny Tarleton (Jeff Meadows), a Wodehousian character who reads to escape, not to improve his mind. Johnny has no patience with books that have nothing in them but ideas that the authors keep “worrying, like a cat chasing its own tail.” Johnny tells the priggish Bentley Summerhays, who likes “improving conversation,” and his father, who likes books with ideas:
I want to forget; and I pay another man to make me forget. If I buy a book or go to the theatre, I want to forget the shop and forget myself from the moment I go in to the moment I come out. Thats what I pay my money for.
I suspect that a lot of folk who buy tickets for Shaw plays at the Shaw Festival resign themselves in advance to having their minds improved. Shaw is famous for his preachiness. But on the afternoon I saw it, the audience for Misalliance was pleasantly surprised to find themselves being entertained instead. One of the main reasons was Jeff Meadows, as Johnny Tarleton, jauntily exuding self-confidence like a character out of Wodehouse. Other reasons include Thom Marriott, who plays Johnny’s father, John Tarleton, a supremely self-satisfied and successful manufacturer of underwear, and Peter Krantz, who plays Bentley’s hapless father, Lord Summerhays, and who has (and gets full value out of) many of the play’s best lines.
The story, which takes place all in an afternoon in an English country house, revolves around the love life of Hypatia Tarleton (Krista Colosimo), the sexually frustrated and overripe daughter of the underwear tycoon. Patsy is engaged to Bentley, an undersized crybaby who is disliked by the men but petted by the women. As we learn in one of the play’s best scenes, Lord Summerhays (Peter Krantz) himself had proposed to Patsy before he became aware that she was engaged to his son. As unenthusiastic as Patsy is about Bentley, still less did she want a husband she’d eventually need to nurse.
From the sky into the Tarletons’ greenhouse crashes an airplane piloted by Joey Percival (Wade Bogert-O’Brien), who is just the sort of manly man for whom Patsy has been pining. With Joey in the plane is Lina Szczepanowska (Tara Rosling), an acrobat who lives for life-endangering thrills and who promptly begins attracting proposals from the men. Compounding the chaos in the second half of the play is the arrival of an intruder (Craig Pike) out to exact revenge on the underwear magnate for his youthful philandering with his mother, formerly a maid in the Tartleton household. The intruder is befriended by Mrs. Tarleton (the delightful Catherine McGregor), who seems both unsurprised and unconcerned to learn that her husband has not been faithful to her. (In Shaw’s moral code, people ought not to be terribly concerned about sexual infidelity.)
The situations are contrived, but Shaw’s characters are so vivid — in this show, anyway — that we hardly notice. The dialogue is brisk and never stuffy; this is as good as ensemble acting gets.
Although Shaw specified that the scenes in his play take place on May 31, 1909, director Eda Holmes “reset” the play in 1962. We are all too familiar with the deplorable practice of putting Shakespeare plays in “modern” settings (generally, by unimaginative directors, in 1930s Germany), but putting a Shaw play in a different time period is a bit more daring. In this show, the chief evidences of the play’s “modern” setting is a contemporary-looking set in golds and browns, Chihuly-like glass sculptures, a chair that’s a glass globe suspended by a long chain from the ceiling, characters costumed in 60s styles, and a character who reads from a 1962 issue of Vogue.
Frankly, we thought the set (designed by Judith Bowden) was smashing. But the problem with giving any older play a “modern” setting is that it instantly creates anachronisms that audience members will think about during the play, instead of the play itself. The slang expressions of 1909 that Shaw put into the mouths of his characters had passed out of use by the 1960s. The women’s issues that are central to Misalliance were very different in the 1960s. And while can well imagine that everyone in a 1909 household would rush outside to look when they heard an “aeroplane,” by 1962 the novelty of flying machines had surely worn off. Are anachronisms really worth the distraction?