Date: Fri 05-Jun-1998

Publication: Bee

Author: DONNAG

Quick Words:

Hartford-Stage-Alice-Albee

Full Text:

(rev "Tiny Alice" @Hartford Stage)

Theatre Review--

An Intellectual Feast Even Albee Himself Enjoy

(with photo)

By June April

HARTFORD -- If theatre be the food for thought, then play on, and on, and on.

Playwright Edward Albee serves intellectual feasts of provocative issues in

his plays. His fare is never really completed, or brought to an "easy" finale.

This challenging attitude is quite intentional. To quote Albee, "if the

theater must bring us only what we can immediately apprehend or comfortably

relate to, let us stop going to the theater entirely..."

Therefore, an Albee play is not for the faint-of-heart. For anyone who has

seen Who's Afraid of Virginia Woolf (and relished the experience), then Tiny

Alice , currently at Hartford Stage, is further up the same theatrical street.

As in many art forms, the images are often symbolic and signify greater, more

universal ideas.

Much of Tiny Alice harkens back to themes explored by the Greek playwrights,

individual truths, "hubris (excessive pride)," greed.

Hartford Stage has mounted a powerful production, in every aspect.

The set is impressive, with nuances that reflect the symbols in the play. The

elaborate birdcage that houses the cardinals is a simpler version of the model

of Alice's mansion, which is a model (and embodiment) of the transplanted

mansion itself. It took two people, working together long hours for six weeks

to complete the model. Scenic designer John Arnone deserves raves for his

creation and his creativity.

The "living" house is eerily brought to life through sound by David Budries;

one feels the telltale heart of Edgar Allen Poe beating and throbbing. Great

taste and wisdom by costume designer Constance Hoffman was expressed in each

of the characters' dress. And all this was punctuated by the sensitive

lighting skills of Donald Holder.

Even the props have weighty significance, such as the phrenological bust that

could symbolize the compartmentalized nature of life, as many live it.

Director and resident artist Mark Lamos once again demonstrates why Hartford

Stage has earned the fine reputation it has. Albee himself visited Hartford to

see the play a few days before its Connecticut opening, and was pleased with

what he saw. He did make cuts in the still too long third act. As he had done

in the premier of the play on Broadway in 1964.

Mr Wilson, a friend of the playwright, noted that Mr Albee had been involved

with the process of the play to some extent, which included the

approval/selection of the actress Sharon Scruggs for the title character.

Alice is played as a quicksilver, a mysterious mega-wealthy beauty, rather

like an Estella of Dickens' Great Expectations . Audience can but wonder at

this character's dark side and need for subjugating and sacrificing her

lovers.

It is interesting that the three "malevolent males" do not have names, rather

"descriptions": cardinal, lawyer, butler. Only Brother Julian has a personal

identity (an the innocence of the sacrificial lamb, as portrayed by Richard

Thomas).

Gerry Bamman plays what is for some the archetypal lawyer, but with a lustful

twist. Personifying the baser qualities of the church, Tom Lacy is a rather

despicable, egotistical cardinal.

Seeming sometimes torn with playing the tortuous game of destroying another

person, John Michael Higgins gives a sensitive and gentle rendering of his

character, Butler. There are comedic touches to Butler's persona, and Mr

Higgins' timing offers emotional release in this otherwise intense play.

Edward Albee chose the road of dynamic, but challenging theatre from the

beginning and has remained true to his beliefs as to the role of the theatre.

Tiny Alice offers an experience that is moving and provocative, and well worth

the time and money.

Performances continue at Hartford Stage, 50 Church Street, through June 21.

Call 860/527-5151 for ticket prices and curtain times.