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“Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes.”
Chapter 2, Verse 15 of the Song of Solomon in the King James version of the Bible
Lillian Hellman’s 1939 play, ostensibly drawing characters from her own family, has been a theater staple since its first outing. In New York, the role of Regina which originated with Talullah Bankhead has been played by such as Anne Bancroft and Elizabeth Taylor while Margaret Leighton, Maureen Sullivan, and Frances Conroy have counted among those featured as Birdie. This Manhattan Theatre Club production allows its leading ladies to play Regina and Birdie in repertory. One can choose whom to see in which role.
Laura Linney, Darren Goldstein
Keeping with 1900s Southern tradition, brothers Oscar (Darren Goldstein) and Ben Hubbard (a well grounded Michael McKean) inherited their father’s cotton business to the chagrin of sister Regina (Laura Linney). The two men are pompously nouveau riche, while she has to make due with being supported in less than the style to which she aspires by manipulated husband Horace Giddens (completely credible Richard Thomas), currently in a sanatorium.
Also enmeshed is Oscar’s sweet, alcoholic wife Birdie (Cynthia Nixon), married for inheritance and ancestry, so cowed she refers to herself as a “ninny,” his lazy, doltish son Leo (Michael Benz) superfluously employed by the bank, and Regina’s overprotected daughter Alexandra (Francesca Carpanini), a daddy’s girl who the Hubbards plan to marry off to Leo.
Cynthia Nixon
A business opportunity to enlarge holdings and walk off with sizeable annuity emerges with the potential collaboration of northerner Mr. Marshall (David Alford – appealingly decorous). While Oscar and Ben have ready funds, Regina must secure her investment from the estranged husband she hasn’t even visited for five months. Feigning affection, this latter day Lucrezia Borgia immediately sends Alexandra to fetch the invalid. Horace, however, despite or perhaps because he’s learned his prognosis is fatal, is no longer the patsy she remembers. How will the Hubbard brothers keep this windfall in the family? How will Regina secure her own ambitious future? Each acts for him/her self.
Richard Thomas, Michael McKean, Darren Goldstein, Michael Benz
Laura Linney’s Regina makes southern gentility organic without losing the character’s edge. Imperiousness fits like a bespoke glove, avarice is palpable. So much emotion is internalized, however, one misses flashes – a moment of sheer hatred during blazing discourse with Horace, a moment of fear when at last Alexandra denies her.
Cynthia Nixon inhabits Birdie from the moment she enthusiastically flutters onstage. She’s vulnerable, wary, resigned, hopeful, hurt and desperate. Every warble in her voice and skittery move embodies Birdie. We can practically feel the tightness in her chest. All together splendid.
Francesca Carpanini, Richard Thomas
Director Daniel Sullivan excels at this kind of solid drama. His characters exist naturally and, for the most part, distinctively. Oscar is fidgety, Ben blustery and overconfident, Regina steely and graceful, Birdie like a trapped rabbit. Leo and Alexandra could use some individual attributes. Confrontations between Oscar and Birdie are superb as are moments of those between Regina and Horace. The stage is well and attractively used.
Unless I missed something, there’s an omission: Horace knocks over his medicine before heading for the stairs. We never see it observed, questioned, or cleaned up. There are paramount reasons for all three.
Scott Pask’s gracious turn of the century mansion is apt environs for this play. The ceiling is splendid. Jane Greenwood’s Costumes are flattering and character appropriate. Accents, it should be noted, sound authentic.
Also featuring Caroline Stefanie Clay as Addie and Charles Turner as Cal- the Giddins’ servants
Photos by Joan Marcus Opening: Laura Linney, Cynthia Nixon
Manhattan Theatre Club presents The Little Foxes by Lillian Hellman Directed by Daniel Sullivan The Samuel J. Friedman Theatre 261 West 47th Street
You are a political refugee. We don’t turn back people like you, people in danger.
Theater audiences don’t usually burst into applause in the middle of a scene. But these aren’t usual times, and the line above, from Lillian Hellman’s 1941 Watch on the Rhine, certainly struck a nerve with those attending an opening night performance at Arena Stage in Washington, D.C. Hellman’s 76 year-old play may be about a different time in history, but the themes seem eerily fitting today.
The Fichandler Stage
Family matriarch, Fanny Farrelly (Marsha Mason), and her son, David (Thomas Keegan), live outside the nation’s capital, in a mansion watched over by two servants, Anise (Helen Hedman), and Joseph (Addison Switzer). Also in the house are two guests – Count Teck De Brancovis (J Anthony Crane) and his wife, Marthe (Natalia Payne). In the round Fichandler Stage, the gazebo-like living room designed by Todd Rosenthal is upscale yet warm and comfortable, a setting that reflects the inhabitants.
The household is preparing for a visit by Sara (Lisa Bruneau), Fanny’s daughter and David’s sister, who has been in Europe for 20 years. Sara arrives with her husband, Kurt Müller (a visceral performance by Andrew Long), and their three children, Joshua (Ethan Miller), Babette (Lucy Breedlove), and Bodo (Tyler Bowman).
Ethan Miller, Helen Hedman, Lise Bruneau, Andrew Long, and Lucy Breedlove
Fanny and David greet Sara warmly. Fanny not only is thrilled to have her daughter home, but excited to meet her grandchildren. She’s soon showering them with presents. David and Sara reminisce about their times growing up in the mansion. But their lives have taken far different paths. While Fanny and David have been living in a safe “bubble,” Sara and her family have been on the front lines in Germany, watching with horror the destruction wrought by Hitler. “The world has changed and some of the people in it are dangerous,” Sara says. “It’s time you knew that.” Kurt has not worked as an engineer since 1933 and instead risks his life fighting the rise of fascism. And that fight has followed him to America. He receives word that his compatriots in Germany are in trouble and he needs to return, along with the suitcase of money contributed by supporters of the cause, to help free them.
Like so many Americans during that time, Fanny and David fail to grasp the full import of what is happening in Europe. Seeing the danger through Sara’s and Kurt’s eyes brings things into focus. They fully support Kurt’s efforts, as evidenced by David’s declaration quoted above.
J Anthony Crane and Natalia Payne
The fly in the ointment is the count. De Brancovis is a desperate man. His marriage is ending (Marthe has fallen in love with David), and after spending nights gambling at the German embassy, he’s in serious debt. When he discovers Kurt’s identity and what’s in the suitcase, he sees an opportunity to repay the Farrelly’s hospitality with blackmail. He asks for what’s in the suitcase, as well as money from the Farrellys, to keep quiet. That demand will set into motion events that threaten everyone with deadly consequences.
Marsha Mason (photo byTony Powell)
Mason, once a high profile presence in 1970 romantic comedies, has talked about the difficulties older actresses face landing film roles. Her recent appearances on the small screen include guest spots on CBS’s The Good Wife and Madame Secretary, and Grace and Frankie on Netflix. She’s the high profile star in this production. Don’t miss the chance to see this professional at the top of her game. She commands attention, showing the many facets of Fanny’s personality as she morphs from the perfect hostess and caring mother into someone who is more flint than fluff, ready to protect those she loves and make a moral stand. “Well, we’ve been shaken out of the magnolias,” she says, the full impact of the situation hitting home.
Andrew Long and Thomas Keegan
Director Jackie Maxwell brings her magic touch to an excellent supporting cast. Long’s performance is riveting. While Kurt loves his wife and children, standing up against fascism is a battle he fights for them. Long balances both sides of Kurt’s character, gentle with his wife and children one moment, lashing out against the count in another. As brave as Kurt is, it’s Bruneau’s Sara who stands out as the courageous one. Once Kurt leaves on his rescue mission, however, she laments what her life will be like without him. The three young actors, playing characters who have had to grow up much too soon, also display maturity beyond their years. These are three young people to watch.
Keegan’s David is the ballast steadying the family. Without his unconditional love and support, Kurt and Sara might have been left to fend for themselves. Besides turning in a strong performance, Keegan serves as the play’s fight captain, staging a scene that is both exciting and startling.
Crane’s evil count brings to mind other villains, mostly from films, who were never true believers but supported fascism for their own selfish reasons. These many years later, Hellman’s play still resonates.
Photos by C. Stanley Photography
Watch on the Rhine Fichandler Stage Arena Stage 1101 Sixth Street, SW Through March 5, 2017
Lillian Hellman’s drama about a Southern family motivated by secrets, lies, abuse, and greed comes alive at Arena Stage with a stellar cast deftly directed by Kyle Donnelly. The setting is Alabama in 1900, a state still recovering from the Civil War. Addie (Kim James Bey) and Cal (David Emerson Toney), no longer slaves, are still servants in the Giddens household. (And truly the only ones with any sense of right and wrong.) Regina Hubbard Giddens (Marg Helgenberger) seems to dominate the family, but she’s frustrated with her financial situation. In the early 20th century, only sons were considered heirs. So Regina seethes watching her brothers Benjamin (Edward Gero) and Oscar (Gregory Linington) enjoy the family’s wealth while she remains dependent on her husband, Horace (Jack Willis).
Hellman’s play holds up surprisingly well with themes that continue to resonate, particularly during this election year. The Little Foxes is part of Arena’s Lillian Hellman Festival. Watch on the Rhine, starring Marsha Mason, will be produced later in the season. There will also be staged readings, film screenings, and panel discussions to explore Hellman’s body of work.
Megan Graves and Kim James Bey
Superficially, the Giddens home has all the trappings of affluence and stability, the stage setting reflecting a more than comfortable existence for the family. (Set design, Mikiko Suzuki MacAdams; lighting, Nancy Schertler). Around the elegantly set dining room table, Regina plays hostess entertaining her brothers, Oscar’s wife, Birdie (Isabel Keating), and their son, Leo (Stanton Nash). But tensions roil underneath that cordial surface. Regina, who married Horace for his money, is disappointed that the match has not provided her with the financial freedom she desires. Oscar is dismissive and abusive of Birdie who self-medicates with alcohol. The Giddens daughter, Alexandra, called Zan (Megan Graves), adores her father, Horace, who has been away getting treatment for a serious heart condition. Largely ignored by Regina, Zan is taken under Birdie’s wing and watched over by Addie.
Gregory Linington, Edward Gero, and Stanton Nash
Benjamin and Oscar are out to increase their wealth by investing in a cotton mill. They need $75,000 and want Regina to ask Horace for the money. Horace has already given the brothers a thumbs down. (Oscar’s other plan for obtaining the money, to have Leo marry Alexandra, also is rejected by Horace.) So Leo, who works at the bank, steals Horace’s railroad bonds from a safety deposit box. Regina’s scheme to blackmail her brothers about the theft for a percentage of the mill is thwarted by Horace. Regina succeeds in the end, finally achieving financial independence, but at a huge cost.
Isabel Keating and Marg Helgenberger
As Regina, Helgenberger is a force to be reckoned with. Everything about her, from her strict posture to her steely gaze, sends the message that she is determined to succeed. There’s no evidence of the warm and helpful Catherine Willows from CSI. When she speaks, those honeyed southern tones are tinged with vinegar. The contrast with her daughter, Zan, is striking. Graves projects a youthful innocence in the first act, but by the end of the play, we witness her transformation, rejecting her mother’s values and ready to stand on her own. Even at this point, Regina can’t help but damn her daughter with faint praise. “Why Alexandra! You have spirit after all. I used to think you were all sugar water.”
Jack Willis, Marg Helgenberger, and Isabel Keating
Horace doesn’t appear until Act II, but when Willis enters, the effect is immediate. Moving slowly with a wooden walker, Willis’ Horace nonetheless is a powerful presence. There’s a touching moment between Horace, Birdie, Zan, and Addie, the four most likable characters in the household and in the play. They are comfortable with each other, their fondness and respect for Horace evident. Birdie, who overindulges in the elderberry wine served by Addie, has a laughing fit where she confesses she dislikes her son, Leo. (Keating’s performance here, and really throughout the play, is remarkable.) Horace’s medical condition adds to his concern for the three women and his worry that he won’t be around to protect them much longer. But he does what he can, telling Addie that he has left her $2,700, and revising his will to take care of Zan.
In contrast, Regina, never the doting wife, is not happy to have him home, and becomes further agitated when she discovers what he plans to do about the stolen bonds. She holds back nothing, telling Horace how much she despises him. And when he suffers a heart attack, she refuses to go upstairs to get his medication. He makes an attempt to climb the stairs, but collapses before he reaches the top. (The clever set, which includes a winding staircase, allows us to witness Horace’s futile climb.)
There are no real winners in the end. That quest for wealth and power at the expense of others always takes a toll. “Maybe it’s easy for the dying to be honest,” Horace tells Regina. “You’ll wreck the country, you and your kind, if they let you. But not me, I’ll die my own way, and I’ll do it without making the world worse. I’ll leave that to you.”
