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A CurtainUp Review
Crimes of the Heart

With Additional Thoughts by Elyse Sommer
So I'm guilty. And I'm just gonna have to take my punishment and go on to jail. . . Don't worry Meg, jail's gonna be a relief to me. I can learn to play my new saxophone. — Babe
Sarah Paulson, Jennifer Dundas & Lily Rabe  in Crimes of the Heart
Sarah Paulson, Jennifer Dundas & Lily Rabe (Photo: Joan Marcus)

It was easy enough to fall in love with the gallows humor Dixie style that Beth Henley employed so uncommonly in Crimes of the Heart, her first major play to appear on Broadway. In it, the characters are conceived and portrayed so that we can laugh aloud hearing that a horse had been killed by lightning; that a wife has shot her husband because she didn't like his looks; and at the admission of an impetuous young lawyer that he became "fond," of his client ever since she sold him a pound cake at a bazaar. The play was a huge success. It was nominated for a 1981 Tony Award, and subsequently won the Pulitzer Prize for drama.

Despite a succession of dark comedies, including The Wake of Jamie Foster and The Miss Firecracker Contest, Henley's gift for installing mercurial mayhem into the lives of neurotically defined Southerners apparently ran its course. I'm a fan of her macabre sense of humor and so her plays have remained among my favorites, including her most recent, Ridiculous Fraud (seen at the McCarter Theater in May 2006) in which she skewers with relish three Southern brothers: a perfect bookend to Crimes of the Heart.

It should have been rewarding to see the decidedly character-driven Crimes. . . return with a fine cast and with Kathleen Turner, making her New York directorial debut. This production, based on the 2007 Williamstown Theatre Festival production, however, falters in ways that are as baffling as they are disappointing.

It is difficult to know whether it is the lack of any visible distinction about Turner's otherwise acceptable direction, or the sense that too many of the principal actors aren't able to effectively plumb the reality of their roles. The wackiness of the characters should take care of itself without having the actors underline it. This is strange since the cast, with just one exception, has remained intact since Williamstown and should be attuned to the obligatory aspects of playing Henley.

There is some hope early in the play that this ensemble has captured the ferocious personalities that make up the Magrath sisters' idiosyncratic household. This occurs as Chick, a neighboring gossipy cousin arrives to dispense the latest horrific news about the murder charge leveled against her cousin Babe, all the while pulling up a pair of panty hose with equally determined gusto. Chick is played by the wonderful Jessica Stone, who captures not only the crassness of her role as extended family instigator and trouble-maker but also proves to be the best at conveying the unforced but also unhinged tone that should permeate Henley's play.

Sadly in this production, it is in all the subtle and poignant aspects of life among these unstereotypical Mississippi maidens that the play loses heart and its momentum. There is no reunion like a Southern family's reunion. That we know. And Henley sparks this odd sisterly gathering with more examples of dysfunctional behavior than you would find in most rehab clinics. If nothing else, it should be fun. It isn't and why is a puzzler. How could so many deliciously nutty people with so many kooky doings afoot turn out to be so boring?

Jennifer Dundas has the role of the dowdy Lenny who is turning 30. She single-handedly maintains the family home and is the sole care-giver to their aging grandfather, now hospitalized. Dundas affects a mousy demeanor, but also layers it with a mannered nervousness and a potato mouth delivery that is less oddball than tiresome. There is some respite from her affectations later in the play, when she discovers that she is no longer going to remain a victim of shrunken ovaries, apparently the cause of her current state of spinsterhood.

Sara Paulson bitches a bit and flirts a little, but does little to make the prodigal Meg, a failed singer and a model of insincerity, more than a bundle of pent up frustrations. She earns a laugh describing the slicing pains in her chest she always got after reading Lenny's letters. For all the empathy we might feel for Babe, Lily Rabe plays the part as if she had more screws loose than even Henley could have envisioned. With her long blonde hair and dressed in a silly girlish frock (what was costume designer David Murin thinking?) Babe gives the impression of a mentally-challenged Alice in Wonderland.

Amazingly the men are the best in capturing the sense of place. Patch Darragh is superb as Meg's former beau, and Chandler Williams is genuinely funny as Barnette Lloyd, Babe's defense lawyer who is not only infatuated with her but also has a personal vendetta against her husband. The two-story McGrath home in Hazelhurst, Mississippi has been nicely evoked by an extra roomy well-stocked kitchen area and a day bed placed to the side. It's a shame that the expert lighting by Natasha Katz hits it mark more frequently than do many of the players.

To read the review of Henley's Ridiculous Fraud, the above mentioned bookend to Crimes, go here.
Some Additional Thoughts
Despite its Pulitzer-prize credentials, Beth Henley's melodrama Crimes of the Heart never struck me as a great American classic. And, after seeing both the summer '07 Williamstown revival and the current Off-Broadway transfer, it still doesn't.

Yet, as directed by Kathleen Turner, who as an actress knows a thing or two about dysfunctional relationships (most recently as Martha in Who's Afraid of Virginia Woolf?) I enjoyed my visit with the Magrath Sisters at Williamstown's Nikos Stage. That enjoyment owed a good deal to my seeing another play about three sisters, Paul Osborn's Mornings at Seven, the very same week at Berkshire Theatre Festival. Watching these two sets of sisters caught up in suddenly exacerbated tensions — Osborn's circa 1922 and Henley's much younger sisters living in post-Hurricane Camille Mississippi (1974) — added a wonderful touch of serendipidous synergy to my experience of both plays. If another Berkshire venue, Barrington Stage had put on The Three Sisters instead of Uncle Vanya, it would have been a third bit of unintended synergy since The Three Sisters is said to be Henley's inspiration for Crimes of the Heart.

Of course, the Roundabout revival has its own unplanned synergy with another trio of sisters —this time in the funny/sad dysfunctional household of Tracy Letts' new dysfunctional family drama, August: Osage County.

I liked the performances (both at Williamstown and in the current production) quite a bit more than Simon did, and excellent as Kali Rocha was as the busybody Chick Boyle, Jessica Stone is indeed marvelously obnoxious. The new design team recreates much of the look and feel of the WTF staging though Anna Louizos' set is more naturalistic than I recall, with less of a trip between refrigerator and stove. Natasha Katz's lighting adds to this warmer, cozier look. The set re-design may be a response by Turner to some of the negative comments on the more abstract WTF set —but I thought that went well with the overall wackiness. Since all but one of the actors had a chance to nail down their Southern accents last summer (and did so), dialect coach Deborah Hecht must have had an easy coaching job.

Actually, CurtainUp reviewed another revival of Crimes seven years ago. To read Les Gutman's enthusiastic take on that production go here; to read the full review of the Williamstown production go here.

Crimes of the Heart
By Beth Henley
Directed by Kathleen Turner
Cast: WITH: Patch Darragh (Doc Porter), Jennifer Dundas (Lenny Magrath), Sarah Paulson (Meg Magrath), Lily Rabe (Babe Botrelle), Jessica Stone (Chick Boyle) and Chandler Williams (Barnette Lloyd).
Set Design: Anna Louizos
Costume Design: David Murin
Lighting Design: Natasha Katz
Original music and sound design: John Gromada
Wig design: Paul Huntley
Dialect coach: Deborah Hecht
Running Time: 2 hours 30 minutes including intermission
Roundabout Theatre Company, at the Laura Pels theatre at the Harold and Miriam Steinberg Center for Theatre 111 West 46th Street. (212) 719 – 1300
Tickets ($63.75 - $73.75)
Performances: Tuesday – Saturday evening at 7:30 PM with Wednesday, Saturday and Sunday matinees at 2 PM.
Previews began 01/18/08; Opened 02/14/08; Ends: 04/13/08--extended to 4/20/08
Review by Simon Saltzman based on performance 02/13/08

The  Playbill Broadway YearBook
The Playbill Broadway YearBook

Leonard Maltin's Classic Movie Guide
Leonard Maltin's 2007 Movie Guide


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