Hillbarn season kicked off by “The Women’
By Cheri Lucas

Whether it’s ice water for the bosom or Jungle Red on the nails, the socialites of Clare Booth Luce’s 1936 work “The Women” work hard to look good and fight hard to keep their men.

Commenting on the social status to which Luce herself had climbed, “The Women” is a modern classic set in 1930’s Manhattan among a circle of wives well-versed in gossip, cat-fighting, and Fifth Avenue shopping.

Luce, the 20th century female version of the perfect Renaissance man, was raised in poverty by her single mother. Luce’s first husband introduced her into the New York social elite but she, like the women in her play, eventually sought a “Reno divorce” from him, determined to be more than a trophy wife.

The playwright and Vanity Fair editor met her match in next husband Harry Luce, and from there went on to be a congresswoman, ambassador and presidential advisor.
“The Women,” directed by prolific director, actor and professor Doyne Mraz, is partly a reflection of Luce’s elevation to distinguished New York status and even more a comedy satirizing the lifestyle and the tactics of the wealthy female “Park Avenue pushovers” within the social circles of her time.

Mary, the reserved, unsuspecting wife of Stephen Haines (played by Mary Moore), discovers from a loose-lipped manicurist that her beloved of 12 years has been cheating on her with the younger, blonder gold-digging Crystal Allen (Bobbi Figone).

“Don’t confide in your friends,” her mother warns. “I’m and old woman, dear. I know my sex.” And her mother surely does. Mary’s rich clique of girlfriends – Peggy Day, Sylvia Fowler, and the perpetually pregnant Edith Potter – is a trio of chitchats, exchanging gossip of who’s cheating with who.

Two years pass, the women – particularly Mary – gradually learn the schemes needed to expose the ugliness of the females like Allen who’ve played their cards deviously.

Twenty one actresses, some donning gorgeous vintage dresses and accessories from Hillbarn’s own “closet,” compose the cast. With the exception of the lead roles, the actresses are something akin to a Greek chorus,” said Mraz, not only playing the minor roles, but also propelling the primary characters forward dramatically and technically.

These “Furies,” or Greek goddesses, dance and mingle on the Hillbarn set which has been transformed into a strange but visually cohesive synthesis of Greek columns and an art deco inspired window framing several scenes atop the stage’s second level. The ensemble remains onstage the entire production, which in a practical way, furthers the play’s message of female autonomy.

While Luce’s dialogue is marked with a wit that entertains across time, the delivery of the actresses is generally dry, and with the exception of some lively scenes – energized by Jackie O’ Keefe and Zoe Conner – “The Women” fails to pique all.

The costume design scores high, however, as does Mraz’ effort to creatively and effectively present a story composed of 44 women. “The women,” then, is a fair opening to Hillbarn’s 63rd season.

close window