Theater Review—

Uproarious, Exciting ‘Big Love’ — Catch It Before It Heads West

By Julie Stern

NEW HAVEN — How does one start to talk about Big Love, Charles L. Mee’s musical update of a lesser-known work by the oldest of the ancient Greek tragedians, Aeschylus? One viewer during a recent presentation at Long Wharf Theatre, where the production is being staged until April 1, remarked that the serious message of Mr Mee’s play is muted by the general hilarity with which it is delivered. At one point I observed that every man in the audience was giggling.

At a talk before the performance, a theater spokesman warned that the audience may see things in this play they have never seen on stage before. Well, that is probably true, but it doesn’t mean you won’t want to see them again (although in the course of flinging themselves to the floor with suicidal abandon, one of the principals damaged his knee and had to be replaced by an understudy who was just as good as the rest of the cast).

The Aeschylus play The Suppliant Women is, like all Greek tragedies, based on a myth the audience goes into the theatre already familiar with. In this case it is the story of 50 sisters promised in marriage by their father to 50 brothers. The brides flee to Italy, pursued by their would-be-grooms, and the war between the sexes escalates into something really hot.

Originally Aeschylus planned a trilogy but only the first play remains, ending with the brothers demanding their marital rights. From notes that survive, he intended to finish the story. The sisters were to be forced to marry the brothers, but they swear an oath to take revenge, and on their wedding night, 49 of them murder their bridegrooms. One bride demurs because she has fallen in love with her husband. She is then put on trial for betraying her sisters.

Mr Mee has set his story in modern times, and the sisters are represented by a trio of young women — Lydia, Olympia and Thyona — seeking protection from a suave Italian gentleman, Piero. The tale takes place in a country villa where Piero lives with his old mother, Bella, and his androgynous nephew, Giuliano.

Singing “You Don’t Own Me” in a number reminiscent of First Wives’ Club, the sisters vow to be true to their independence. When their three designated grooms — Nikos, Oed and Constantine — arrive by helicopter, the girls hurl themselves about the courtyard to demonstrate their reluctance to be cared for by men.

Led by Constantine, as the ultimate macho man, the three guys flop about the stage with even more athleticism. They are determined to assert their rights. Only Nikos, in a nervously interminable attempt by the Martian to speak Venus talk, attempts to actually communicate with Lydia, explaining that he is actually looking for a friend as well as a lover. (It was this part that had all the men giggling). It wasn’t until Lydia began to recount her dream that the women in the audience started to laugh.

As the hardcore feminist, K.J. Sanchez imbues Thyona with passionate indignation and seething contempt. Aimee Guillot is the air-headed Olympia, torn between the excitement of presents and a cake on the one hand, and the pressure of her sister on the other. Carolyn Baeumler makes Lydia into the believable heroine of the piece.

The back-slapping, elbow-nudging trio of brothers are led by Bruce McKenzie as Nikos, and at our performance, the understudy Ken O’Brien doing a strong job as Constantine. With the men, body language contributes to the general feeling of unity between guys, while the women rely on indignant protest in a world that gives them no quarter.

The music is beautifully chosen, from Mozart’s Figaro and Pachabel’s Canon to a somewhat unique version of Cole Porter’s “Bewitched,” sung by Giuliano and wedding marches.

For this reviewer the best job was done by Lauren Klein as the doddering, black stockinged Bella who appears to be a cross between an Italian widow and Marlon Brando in The Godfather when she is given the difficult task of pronouncing judgement on Lydia’s defection from the others.

This play is at times uproarious, definitely exciting, startling and occasionally moving. It is certainly different, in the best sense of theater. It’s going out to Berkeley, Calif., when this run is over, and I can’t wait to get my son to see it there.

Meanwhile, if you want a real treat, go to Long Wharf now.

(Contact Long Wharf Theatre at 203-787-4282 for performance times and ticket information.)