Long before there was Reverend Moore in Footloose, there was dance adversary and forceful chapel congregant Thomas Scott. Scott has been offered a small fortune for his declining neighborhood textile business. The problem? The new owners would turn the desirable corner location into a dance hall: a devil’s playground as far as Scott is concerned. A righteous Protestant Nonconformist, he must now weigh his family’s future against his steadfast convictions.
Despite being written in 1913 by rising star Elizabeth Baker, The Price of Thomas Scott is brimming with modern dilemmas. Class still dictates potential opportunity for education and career. Our highly divided social climate is filled with the voices of strong convictions that have soured into prejudice. Many become even more entrenched in the familiar and pass judgement on those who are open to differing opinion. Yet as time moves forward, the seemingly outrageous and unusual can find more acceptance.
Scott’s family in question includes his far-sighted and talented daughter Annie (a radiant Emma Geer), whose creativity is stifled by her tasteless clientele. Her brilliant brother Leonard (Nick LaMedica who does his best to come across as a teenager) has the potential to become upwardly mobile. Their mother Ellen (an underutilized Tracy Sallows) longs to retire with her husband to Tunbridge Wells where they first met. While Scott himself (a crackling Donald Corren) has built his life around his chapel and now seems driven to protect everyone’s prospects for entrance to heaven. Temptation is provided in the form of Wicksteed (a polished and eloquent Mitch Greenberg) a former friend now employed by the successful Courney Company. The story is made richer by the Scott’s friends and neighbors played by Andrew Fallaize, Josh Goulding, Jay Russell, Mark Kenneth Smaltz, Ayana Workman and Arielle Yoder.
Tracy Sallows, Donald Corren and Emma Geer. Photo by Todd Cerveris.
Director Jonathan Bank is constrained in his approach, relying heavily on Tracy Bersley’s choreography to pick up the momentum. All the action takes place in the back parlor of the Scott’s shop, represented by the perfectly rundown set created by Vicki R. Davis. The charming mostly muted costumes by Hunter Kaczorowski tell the story of period and class in pre-WWI England. The hats on display illustrate the gap between Annie’s instinct for style and her clients’ misguided requests. Shifts in the lighting by Christian Deangelis and music and sound by Jane Shaw help set mood and pace.
All are in service to the clever and often humorous words of Ms. Baker. Growing up in a household similar to that of the Scotts, she took in her first play at the age of 30. In short order she had transformed from an obscure stenographer to recognized playwright. At first you may need to navigate the various accents and a few older expressions, but then the flow is established and the characters come into focus. However, the ending will feel extremely abrupt to a modern audience. (Those around me failed to clap for a full 30 seconds, though they appeared stunned more than unhappy with the performance.) The production team seems to have recognized Baker’s departure from what has become an acceptable character arc and tacked on a post-curtain call “coda” to better manage expectation. Your reading of the Artistic Director’s statement and dramaturgical notes will help you better appreciate the work.
The Price of Thomas Scott poses some deep questions through pleasant voices. It is Mint Theater’s latest project in support of giving new life to neglected women playwrights. Runtime is 90 minutes with no intermission. It is playing through March 23 at the Beckett Theatre in Theatre Row. Full priced tickets are $65, though there are several discount options including $32 day-of Rush. For more information and to purchase seats visit http://minttheater.org/current-production/
The Cake
The Cake is like one of those imperfectly filled jelly donuts: a few sweet spot surrounded by too much bland. At a time when we could use serious conversation and considered insight into the critical issues that divide us as a nation, this comedy by This Is Us producer Bekah Brunstetter offers too little that is satisfying. Though it concludes with some timid steps towards a “love is love is love” message, it gets there via worn out arguments on both sides of the issue of gay marriage.
Fans of That 70s Show may delight in seeing Debra Jo Rupp as Della, the owner of a sweet shop in Winston-Salem North Carolina (Brunstetter’s home town) about to find fame on a national baking show. Her opening monologue cleverly lays the groundwork for the rigid discipline Della applies to all areas of her life. Soon after, she is reunited with Jen, her deceased best friend’s daughter, who is in town preparing for her October wedding. Initially Della is thrilled when asked to provide the wedding cake. But when she discovers Jen’s intended is another bride, she clumsily rescinds the offer. Their ensuing awkward discussion leaves both Della and Jen rattled and searching for the roots of their beliefs and accompanying feelings of shame.
Director Lynne Meadows does her best with a space that is too wide for a story this intimate. Rupp is her usual perky self, delivering most of the better lines with comic flair. To some ears, Della will simply come across as a bigot (though a chirpy petite one) who uses someone else’s pleasure and pain to mend her own relationship. But there are moments when Della’s turmoil feels genuine. Rupp is most grounded in her scenes with Dan Daily, who has the most joyful character arc in the role of her domineering husband, Tim. (Daily also provides the voice of the appropriately oily George, the host of the American Baking Show who functions as Della’s conscience.)
Rupp and Angelson in The Cake. Photo by Joan Marcus.
The relationship of the lesbian couple is more problematic. Disappointingly, though the words are often there — particularly in Jen’s vivid and horrifying description of her heterosexual encounters — there is no palpable connection between the two actresses. The fresh-faced Genevieve Angelson brings a sweet restlessness to Jen as she is tossed between the realms of her conservative childhood and newly found freedom discovered in New York. As her betrothed, Marinda Anderson gives Macy some well-earned rough edges, though the script occasionally requires her to speechify. But as a couple, they never seem to click.
The overall look of the piece is spot-on. Scenic designer John Lee Beatty has chosen candy colors to surround his baker, with mint green and strawberry cream pink swirling through her shop and home. In contrast, the engaged couple is staying in the only earth toned room on the set. Wardrobe by costume designer Tom Broecker follows a similar scheme, with Jen alternating palates. Philip S. Rosenberg’s ’s lighting sharpens the intensity of Della’s inner dialogue and softens the conversations between lovers.
With The Cake, Ms. Brunstetter has tried to make the point that recent cultural shifts have occurred too quickly for some goodhearted people to catch up. The irony is that since the time the play was first produced, those same shifts have given rise to a slate of superior projects with bolder things to say. From our current cultural vantage point, this work is a disappointing use of Rupp’s comedic talent as well as a waste of several delectable-looking cakes.
The Cake is playing through March 31 at MTC at New York City Center – Stage I. Theater-goers under 30 qualify for special $35 tickets. Full priced tickets begin at $89 and can be purchased online at www.nycitycenter.org, by calling CityTix at 212-581-1212, or by visiting the New York City Center box office (131 West 55th Street).