THE BASICS: J.B. Priestley wrote this still-delightful Yorkshire comedy in 1938. It has been revived successfully quite a few times over the years, including at the Shaw Festival in 1990. The present production runs in repertory at the Royal George Theatre through October 26th. Joseph Ziegler directs a cast of fifteen. The play clocks in at about 2 hours and 20 minutes, with its now single intermission.
THUMBNAIL SKETCH: The action unfolds in the sitting room of Alderman Helliwell’s house in Clecklewyke, Yorkshire. The Helliwells, Parkers and Soppitts, three now highly respected and well-to-do couples who were married, jointly, twenty-five years before, reunite for a Silver Wedding Celebration. Imagine their chagrin when, by an odd chance, they learn that the young clergyman who helped them all tie the knot back in 1912 did not have the proper credentials! Add in a cheeky, gossipy, eavesdropping servant, a floozy-ish mistress who sees her big chance, and a highly picturesque wedding photographer who is three sheets to the wind, and you’ve got a couple of hilarious hours at the theater.
THE PLAY, THE PLAYERS AND THE PRODUCTION: Playwright Priestley keeps the bluster and bickering front and center, but the play deals, in a subtle way, with the crumbling of time-honored societal norms. Don’t be surprised if, after the laughter has subsided, you find yourself chewing over issues of class, not to mention the actual meaning of marriage. Quite an accomplishment, I’d say, without a Shavian podium anywhere in sight! If the pace flags a little here and there, it is a small quibble.
The cast is close to ideal. My personal favorites: Thom Marriott as the pompous, posturing Alderman Helliwell, and Patrick Galligan and Kate Hennig as the Soppitts, a couple right out of a classic James Thurber cartoon. Peter Krantz is also most amusing as the soused, sentimental photographer Henry Ormonroyd. Veteran Mary Haney makes hay in the plum supporting role of Mrs. Northrop–irreverent servant turned Village Tattle-Tale. Jennifer Dzialoszynski is very cute as the incorrigible Rubie Birtie, servant-in-training; it’s too bad that the Yorkshire accented, baby girl voice she uses isn’t all that intelligible.
Director Ziegler manages to keep things humming most of the time. The laughs are big, and they come regularly. Ken MacDonald’s beautifully detailed Victorian set is a sly reminder of a world that has now, irrevocably, gone by. The typically excellent period costumes are by Louise Guinand.
IN SUM: Pretty wonderful. Seventy six years later, WHEN WE ARE MARRIED is still very funny, and still able to get us thinking about important things. The production is almost all that you could hope for. No wonder it’s been selling out! And the good news is, you have ‘til nearly Halloween to catch it!
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!