On Saturday afternoon, April, warm sunlight shines through the French door of a London house rented by Lily and Charlie Wilson. Comfortable home, it’s a little stretch for their budget, so they have a border — Fred Tenant, a comfortable young clerk.
And it turns out that Fred has the news that will send a shock wave through Wilson’s peaceful marriage and the satisfying, adaptable life of their extended family. Two days in advance, Fred leaves England for Australia, trading the safety of his office work for the risk of adventure in a new, wide open country.
“I’m going to make it an opportunity, you know,” he says. “I have no luck waiting for me.”
To the ears of Americans in the 21st century, it sounds fine. But in England in the early 20th century Elizabeth Baker’s play,chainHe made the splash when it was first produced in London in 1909, “says Fred, a social rebel.
“You never come to the world to enjoy the joy,” Lily’s mother said in a scandal.
Baker claims in this well-structured drama, under its gentle surface, that it is as political as the George Bernard Shaw’s play.
In Jenny Thompson’s beautifully performed production, Mint Theater CompanyAt Theater Row in Manhattan, the love between Lily (Larkan McHardy) and Charlie (Jeremy Beck) is clear. But Fred’s decision unleashes Charlie’s anger at his monotonous, desk-tied life and his regrets about his calm before seeing the world.
The problem is in the country Fred (Peterson Townsend) is heading to, in 1909. Immigration Control LawAlso known as White Australia Policy, it has made it exponentially difficult for non-white immigrants to enter the country.
There is no mention of the law in the text, but it is a reality for black immigrants. So, with a black actor like Fred-providing a perfectly nice performance-we look past his race to read casting as colorblind rather than colorblind. Seems to be intended, the philosophy that Mint had in mind. Unless you think you’re doing very little research before Fred embarks on it
With a nimble set set by John McDermott, Paul Miller flatters and theatrical action unfolds within 48 hours, giving Baker the urgency of flirtation. Leaving Lily behind, it seems that Fred’s boat is Charlie’s only chance.
They are not the only ones tired of work. Lily’s sister, Maggie (Olivia Gilliat), was so tired of working in her store that she engaged her unloved man.
Her fiancé (Ned Noise) loves her, but it turns out that it’s not what she needs. Fred’s courage inspires Maggie with a thrill. She wants a man brave enough to look for his fortune. And she wants to be brave enough not to do what her society expects from her.
Baker, a salaryman who turned into a playwright, took part in it boldly and engaged in a series of jobs that were not known to welcome women. When the New York audience first saw the “chain” in the Americanized version on Broadway in 1912, her script was credited to the adapter, Porter Emerson Brown, in all capital letters.According to her, Baker’s name was displayed as a “very small type” review In the New York Times, Brown accused him of “trying to steal lightning.”
He called Baker’s play “very clever”, praised his performance, and the review was considered a “chain”, but it was still “too familiar to bring great excitement to play fans.” ..
That’s still true. Diverted. I’m not particularly resonating here right now.
chain
Until July 23rd at Theater Row in Manhattan. minttheater.org.. Execution time: 2 hours.
