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Post Standard, The (Syracuse,
NY)
February 18, 2000
Section: Weekend
Edition: Final
Page: 19
ACTING, DIRECTION, SETS
AND COSTUMES BOOST 'THE HEIRESS'
This long and taut
family drama is touchingly told at a brisk pace.
Suzanne Connelly, Contributing writer
Appleseed Productions has
pulled out all the stops for its elegant production of "The Heiress." Start
with a lavishly
decorated set and hoop-skirted
costumes and add some fine direction and acting. The result is a touching
telling of a
taut family drama. The heiress is the shy, uncertain,
plain Catherine Sloper, who falters under the demanding rule of her father,
a prominent
and wealthy physician. He
finds nothing but fault in his daughter, endlessly comparing her unfavorably
to his wife, who
dies giving birth to Catherine. Sarah Davies gives a splendid
performance as Catherine. She projects the awkward social graces of the
painfully timid
and insecure girl who "would
do anything to please" her father. But her passion in declaring love for
her suitor, Morris
Townsend, puts a blaze in
her eye and color in her cheeks. Bernard Kaplan forces the
audience to despise the arrogant and unforgiving father, who is so wrapped
in self-pity that he
denies his only child her
happiness. Kaplan's delivery is overbearing and deliberate (sometimes he
is too deliberate, and
sounds hesitant instead),
but he is a fine foil for Davies. His cruel and scathing denunciation of
her at the beginning of
Act II is his best piece
of work. Joe Reddick, as the suitor,
handles his lines adeptly, projecting the requisite charm and just the
right touch of
ambivalence. You're never
really sure of his motives - is he after the girl or after her money? As an untiring advocate for
love, Cathy Greer-English plays Lavinia, Catherine's widowed aunt. Greer's
Lavinia is
vivacious and unceasingly
talkative, a likable busybody. Her work, in tandem with Davies, is filled
with empathy,
especially the touching
scene when she consoles a heartbroken Catherine. Amanda Raymond as Cousin
Marion, Kathleen Kogel as Mrs. Montgomery and Nora O'Dea give strong supporting
performances. Heather Roach
as Maria does a fine job as the housemaid. She seems so comfortable in
the handsome
green and burgundy set,
straightening the doilies and lighting the lamps, that the audience feels
right at home. The set, which is attributed
to several people in the program, is attractively and richly decorated,
enhanced by the soft
light of candles and oil
lamps. There is even a set of handsome, working pocket doors. Director Jay Berry moves
the rather long play at a brisk pace, with few dead spots in the action.
Copyright (c), 2000, The
Herald Company |
