Arizona Daily Wildcat January 20, 1998 A Family Affair
In Arizona Theatre Company's co-production of "The Heiress," Catherine Sloper inherits more than money. She inherits cruelty, low self-esteem and loneliness. Catherine lives with her father, Dr. Sloper, and her aunt, Lavinia Penniman. Catherine's mother died in childbirth and Dr. Sloper blames Catherine. He has idealized his dead wife and expects Catherine to be as perfect as she was. His unreasonably high exp ectations cow Catherine into a submissive, nervous existence. Then she meets Mr. Morris Townsend, falls in love and plans to marry him. But Dr. Sloper thinks Townsend is only after Catherine's inheritance. The play deals with Catherine's yearning for pare ntal approval and her heartbreaking struggle to be loved by anyone, even herself. She struggles to be her own woman, to step out of her mother's shadow. "The Heiress" is set in New York City in 1850 and the set is the Slopers' front parlor. Set designer Kate Edmunds achieves nice depth with a large archway revealing an entryway and curving staircase that lead to the upper hallway. The Slopers are obviousl y upper class and the silver urn, the Venetian vase, the overshadowing portrait of Catherine's mother and Catherine's embroidered pillows are all delicate details. The decoration of the room is elegant and opulent as are the beautiful and intricate period costumes. The script, by Ruth and Augustus Goetz, is based on the Henry James novel Washington Square. It is abundant with fleshed out characters, wit and surprise elements. The relationship between Catherine and Townsend is much like that of Marianne and Willoughb y in Jane Austen's Sense and Sensibility. This production of "The Heiress," presented with the Berkeley Repertory Theatre, played in California before coming to Tucson, and the actors have established a wonderful rapport with each other. With few exceptions, the acting is strong and the cast achi eves genuine emotion in a few touching moments. Dr. Austin Sloper is played by Ken Ruta. Despite his strong stage presence, he begins the play with a performance that is out of sync: his sarcasm and mockery don't have enough bite to be convincing, and he loses some of the humor in the lines. Ruta recov ers though, presenting a complex character, hard to love, but hard to dismiss entirely as a bad guy. The relationship between father and daughter is uncomfortably real, and the most genuine emotion in the play is in the scenes between Dr. Sloper and Cathe rine. Anne Torsiglieri handles Catherine wonderfully. Her engaging character is realistically complex and her struggle obvious to all. Torsiglieri creates her physical character with nervous gestures, painful smiles and a hopeful look. Catherine's first kiss wi th Townsend is wonderful - moving from awkwardly shy to fiercely clingy with newfound love, it is a highlight of the show. Aunt Lavinia Penniman is made appropriately ridiculous by Katherine Conklin. She goes beyond the silly-old-aunt archetype, though, to reveal a character with familial concern and social judgment as well. Robert Parsons, as Morris Townsend, is, unfortunately, a weak link in the cast. Parsons relies too heavily on the lines to carry him and doesn't have the depth of character behind him that the other actors have. He isn't awful, but his performance seems f orced at times and pales in comparison with the others. Rugs and clusters of furniture create interesting and varied space for the actors to move freely and naturally in with David Wheeler's wonderful direction. The windows, the fireplace, and the flown chandelier are all well placed and create lighting which reflects the mood of the action. Overall, "The Heiress" is a well-rounded production of an excellent play. It provides laughs, touching moments and some cheers for women's lib. "The Heiress" is playing through Jan. 31 at the Temple of Music and Art, 330 S. Scott Ave. Call (520) 884-8210 for ticket information.
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