Early Miller Work Is Good, But Shows The Young Playwright’s Weaknesses

By June April

STAMFORD — Arthur Miller stands as one of the beacons in the American Theatre world. The universality and powerful timelessness of Death of a Salesman, All My Sons, The Crucible, and A View from the Bridge are internationally acknowleged.

Yet The Ride Down Mt Morgan, the opening production of Stamford TheatreWorks’ 2001-02 season,  does not have the greatness of Miller’s earlier work. Playing only through Sunday afternoon, it’s better to pay less here and experience a comparable performance to the Broadway production that is now closed.

Having seen this show last year in New York, with Patrick Stewart playing the lead of the arrogant, troubled and self-indulgent insurance man Lyman Felt, it is once again a tribute to Stamford TheatreWorks that its production stands equal to, or better than New York’s theatre experiences.

The play itself works better in the smaller, more intimate setting of STW, and the actor Peter Reznikoff, who plays the injured bigamist, is a appropriate choice for that character. Mr Reznikoff combines the boyish, petulant qualities the part calls for, along with the self-righteous indignation he feels in trying to make two women feel happy and loved.

Two of the most credible actors in this production were Matthew Boston, who portrays the attorney/friend of Lyman and Theo Felt, and Cecelia Antoinette, who plays Nurse Logan. Mr Boston seems totally natural as a concerned long-term friend and counselor who has a genuine interest in what will happen to two people he deeply cares for. His own anguish is sensitively expressed and he shows the moral strength of a close confidant and wise friend.

Ms Antoinette’s timing and professional nursing skills were gently tempered by her humanity. She was the non-judgemental observer, one who listens and embraces.

The actors in the play’s remaining three roles — Lyman’s two wives and daughter — were a level below the other three characterizations. They were not bad, per se, they just did not quite excel.

Perhaps it was the directing by Dennis Lee Delaney, but it seemed Leah Lyman’s portrayal somehow had a mental overlay of the actress Goldie Hawn. Others in the audience found Gina Nagy’s acting endearing and were overheard saying they “look forward to her being on stage.” The more sophisticated interpretation that was done in the New York production seemed more credible; the rhythm of her speech and the mannerisms were seemingly more suited to the Leah character.

There was no chemistry between the first Mrs Felt (Theo; played by the talented Wendy Barrie-Wilson) and Lyman. It was almost understandable that the errant Lyman would be eager to look elsewhere for a more exciting/interesting partner.

Brooke Peterson’s acting is at times a caricature of a spoiled and immature adult-child. As Theo and Lyman’s daughter Bessie, she alternately looks the part of a scared rabbit caught in a car’s headlights and a bit too hysterical in her reactions and actions to the events she is experiencing.

The set design by Charles Kirby was excellent and allowed the play to move flawlessly from one geographic area or timeframe into another place or time period.

The lighting skills of Aaron Meadows heightened the dream sequences and added a depth to the experiences of hospital room versus home settings. And, as in every production that she is involved with at Stamford Theatre Works, Pearl Broms’ touches as set decorator bring the play alive in such believable settings.

There is a dream segment in the Stamford production that was either dropped from or forgotten during a viewing of the New York show. The “Betty Crocker” sequence adds little to the play and is too cutesy to be the expected sharper dialogue typical of earlier Miller plays.

In a nutshell, the play is about the meeting of a bigamist’s worse nightmare: His two wives meet in the hospital where he is recovering from an automobile accident. His character is almost antithetical from one marriage to the other. It’s a playing that deals with the confrontation of the characters.

Also, there is some a confusion on Lyman’s ability to move with such agility in some of the hospital room sequences if he was so badly injured, and that does not include the dream and other aside sequences.

(Evening performances continue through Saturday, October 6, at 8 pm. Matinees this closing weekend will be offered on Saturday at 4 and Sunday, October 7, at 2. Stamford TheatreWorks is at 200 Strawberry Hill Avenue, at the corner of Fifth, on the campus of Sacred Heart Academy. Tickets range from $15 to $28 and can be ordered by calling the box office at 203-359-4414.)