Tuesday, June 7, 2011

Theater Review: A Little Journey

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Samantha Soule and Laurie Birmingham. Photo: Richard Termine
A Little Journey Literally and Figuratively
By Lauren Yarger

The Mint Theater Company continues to revive long-lost gems in its intimate Off-Broadway site and Rachel Crothers’ A Little Journey is no exception.

This play from one of America’s most prolific early 20th-century playwrights (30 of her plays opened on Broadway between 1906 and 1937) was a nominee for the first Pulitzer Prize for Drama in 1918. Set in 1914, it follows the interactions of travelers in a first-class Pullman train sleeper car, in which the first two acts take place – no easy production task, even in 2011.

The design team is up to the challenge, however, as lighting and sound (Paul Whitaker and Jane Shaw) enhance a carousel-like car design (Roger Hanna) which rotates periodically to simulate the motion of the train and gives Director Jackson Gay nice angles to plot the action. One moment, a couple in conversation arrive in their berth front and center; the next, a group of eavesdroppers in another part of the train laugh across the void. It’s all very clever.

The story revolves (no pun intended) around society girl Julie Rutherford (Samantha Soule), who finds herself destitute and put out by the aunt who has raised her. She refuses the hand of suitor Alfred Bemis (John Wernke) because he doesn’t provide enough of an income, or true love, and in despair, she heads to her estranged brother in Montana aboard the train. (In a tip of the hat to old fashioned plays written before money was such an issue for a production and doubling of actors’ roles became more common, Wernke and two actresses playing society friends of Julie’s are in the play for only a few minutes of the first act and are not seen again).

Free-spirited Jim West (McCaleb Burnett), headed home to Montana, pays for uptight Julie’s ticket when hers turns up lost, and a train-board friendship develops over four days. Keeping tabs on them are the other passengers: the pompous and demanding Mrs. Welch (Laurie Birmingham, who enjoys getting into the humorous part); young Lily (Chet Siegal) who is traveling with her near-deaf grandmother Mrs. Bay (Rosemary Prinz – some will remember her as Penny on the soap “As the World Turns”), two college students, Frank and Charles (Ben Hollandsworth and Ben Roberts); pants salesman Leo Stern (Craig Wroe), rich and pompous Mr. Smith (Douglas Rees), who gives Mrs. Welch a run for her money in the most demanding competition; Annie (Jennifer Blood), traveling alone and trying to care for her infant; and finally the porter (Anthony L. Gaskins), who takes care of all their needs. (Rees does the only doubling in the cast, also playing the conductor).

The trip takes an unexpected turn (again, no pun intended) and the folks find that a new outlook and a journey of character may take them to a new destination in life.

Some parts of the third act seem a little disjointed and the whole feels a little dated (though Martha Hally’s period costumes keep us tuned in to the era), but overall, A Little Journey is charming and holds up well over the years (it apparently hasn't been seen on stage since the 1930s following a 1927 silent film version which has been lost). Crothers apparently called the piece as a comedy, and while it probably wouldn’t be classified as such by modern standards, there is a lot of good humor in this play.

A Little Journey runs at the Mint, Third Floor of 311 West 43rd St., NYC, through July 10. Tickets are $55. All performances will take place on the Third Floor of 311 West 43rd Street. Tickets are available by calling the Mint box office at 212/315-0231 or go to http://www.minttheater.org/.

Christians might also like to know:
God’s name taken in vain

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My Bio

Lauren Yarger is Executive Director/Producer with Masterwork Productions, Inc. She has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the 2000 Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists.

Yarger trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Three-Day Training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run.

In 2008 she was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She writes reviews of Broadway and off-Broadway theater with a Christian perspective for Masterwork Productions (http://reflectionsinthelight.blogspot.com/) and is Connecticut theater editor for CurtainUp http://www.curtainup.com/, a national theater web site based in New York and editor of The Connecticut Arts Connection, an online source for news and reviews (http://ctarts.blogspot.com/).

She also worked in arts management for The Bushnell Center for the Performing Arts in Hartford and for the Hartford Symphony Orchestra.

Yarger writes news and inspiration for Christian artists at http://christianpeformers.blogspot.com/ and teaches theater workshops at conferences around the country.

She is a freelance writer and member of The Drama Desk, The Outer Critics Circle, The American Theater Critics Association, the Society of Professional Journalists, the CT Press Club, the National Book Critics Circle, the Connecticut SPJ, the Connecticut Critics Circle and Christians in Theatre Arts.

A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger lives with her husband in West Granby, CT. They have two adult children.

Copyright

All material is copyright 2008, 2009, 2010, 2011, 2012 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact reflectionsinthelight@gmail.com

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Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.
Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.
Strong Language -- means some of the more heavy duty curse words are used.
Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.
Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.
Sexual Language -- means the dialogue contains sexually explicit language but there's no action.
Sexual Activity -- means a man and woman are performing sexual acts.
Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.
Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.
Homosexuality -- means this is in the show, but not physically depicted.
Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.
Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.
Cross Gender -- A man is playing a female part or a woman is playing a man's part.
Suggestive Dancing -- means dancing contains sexually suggestive moves.

Other content matters such as torture, suicide or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

Our Reviewing Policy

Our reviewer Lauren Yarger receives free tickets to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle and The Drama Desk, the two professional critics organizations with journalists covering NY theater. Journalistically, she provides an unbiased review and is under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows our readers want to know about (we review all Broadway shows and pertinent Off-Broadway shows), Masterworks purchases a ticket.

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