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Peg 'O My Heart
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It's awfully nice to be privileged It's just plain swell to be rich What a blessing to have scads of money Every day of your life milk and honey Glides right by without a hitch Being Poor would be a switch --- opening stanza of "Privilege", one of ten songs which enliven the almost century old crowd-pleaser Peg 'O My Heart. |
Despite the pleasure afforded by the music it more or less underlines the action rather than furthering it. In short, what we have is a play with music that's not integrated sufficiently enough to be tagged a musical like Streets of New York. Still, those ten songs do allow each of the main characters to have a solo and also feature a duet for the title character and the man whose heart she captures (and vice-versa) plus a catchy ensemble number at the beginning of each act that rings in even the man no English comedy can be without, the butler (James A. Stephens, as quintessential a butler as you could wish for). Best of all, what you hear is music without miking so that you can really appreciate the beautiful voices of all the singers..
Except for making room for her songs, Ms. Moore's direction seems to hew reasonably close to the story that made Laurette Taylor the toast of London and Broadway (over 600 performances in 1912 and again in 1921) and also seeded two movies (the first with Taylor, the second with Marion Davies) and one attempt (unsuccessful) at a musical version. It's a a feather light, hokey romance with elements familiar enough to make you feel sure you've seen it before: A poor, uneducated Irish lass raised in the rough streets of New York crosses the ocean at the invitation of her late mother's well-intentioned uncle. The uncle's death before her arrival lands her on the doorstep of another relative, a snobbish aunt, who is now designated to see to her education which means manners as much as book learning. That Peg's life with her rich relations is closely connected to their financial status (a sudden descend into poverty), a secret bequest and her falling in love with a wonderful guy is as sure as thunder follows lightning -- in fact, a thunderstorm sends Peg rushing into her true love's arms for the inevitable happy ending.
As the songs are what's new (and in terms of its claim as a musical, what's wrong) about this hokey but still appealing valentine to another era, the performances are what make this a nostalgia trip worth taking. Kathleen Early, who made her Off-Broadway debut without a stitch of clothing Edward Albee's Play About the Baby (our review) is a made-to-order Peg -- modestly dressed, lively, with an authentic Irish lilt and a clear, sweet soprano. Any casting agent reading this, should make a bee-line for the Irish Rep to check out this attractive and talented young woman. (Interestingly, the Adam to her Eve in the Albee play, David Burtka, is currently playing Tulsa in Gypsy.). Early's romantic interest in this production, J. Kennedy, proves himself as ideal a match as Burtka was in the Albee play.
The other performers also have fine voices. Rita Harvey doesn't bring much acting nuance to her portrayal of Ethel, the snooty cousin who is involved in a romance with a married man (a well-cast Jonathan Hadley), but her rendition of "Ethel's Lament " is so outstanding that you'll wish Ms. Moore had written her another tune. On the other hand, Don Sparks, who's the only non-singing cast member, brings the same strong stage presence I've noted in his appearances at the Berkshire Theatre Festival to the role of Montgomery Hawkes-- the lawyer who reads the codicil to the deceased uncle's will that will enable the Chichesters to stay clear of the poorhous if they allow the poor little city mouse into their country dwelling.
The three member orchestra, positioned at the foot of the stage, is ably led by Eddie Guttman, who is also credited with the original assembly hall waltz music. James Morgan, who has done wonders with this small and difficult stage before, has done so again with a richly furnished set that includes everything one would expect to find in a fine home outside London.
Peg 'O My Heart would be too corny for today's Broadway. However, buoyed by Ms. Moore's enjoyable songs and her feel for the play's nostalgic apeal, this is just the sort of fun finale for an Irish Rep season that also included more serious and heavy fare like Bedbound ( Our Review).
| PEG 0'’ MY HEART
Written by J. Hartley Manners Adapted & Directed by Charlotte Moore Original Songs by Charlotte Moore Cast: Kathleen Early/Peg O Connell; Jonathan Hadley/Christian Brent; Melissa Hart/Mrs. Chichester; Rita Harvey/Ethel Chichester; J. Kennedy/Jerry Adair; Jody Madaras/Alaric Chichester; Don Sparks/Montgomery Hawkes; James A. Stevens/Jarvis; Set Design: James Morgan Costume Design: David Toser Lighting Design: Mary Jo Dondlinger Sound Design: Zachary Williamson Hair: Robert-Charles Vallance Musical Arrangements, Conductor/Piano: Eddie Guttman;, Marty Fett/Cello;Brenda Vincent/Violin Running time: 2 hours and 15 minutes, includes one intermission Irish Repertory Theatre 212-727-2737 Tue - Sat at 8pm; Sat & Sun at 3pm--$35 - $40 5/13/03-7/06/03; opens 5/22/03 Reviewed by Elyse Sommer based on 5/18 press performance |
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Musical Numbers
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Act One
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Act Two
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Mendes at the Donmar
Our Review
At This Theater
Leonard Maltin's 2003 Movie and Video Guide
Ridiculous!The Theatrical Life & Times of Charles Ludlam
Somewhere For Me, a Biography of Richard Rodgers
The New York Times Book of Broadway: On the Aisle for the Unforgettable Plays of the Last Century
6, 500 Comparative Phrases including 800 Shakespearean Metaphors by CurtainUp's editor.
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