Perspective redefines beauty in a complicated 20 year love triangle between real life portrait artist Elisa, striving to join the upper class; Alexis, a fictitious aristocrat in love with the idea of revolution; and Marie Antoinette, last Queen of France and symbol of the French Monarchy. As the revolution gains momentum, the complex relationships between the three characters is challenged as politics converge and romance shatters their lives.
What works for this dramedy is the talented cast, exceptional costuming and unique technical elements. What doesn't work is the script with its slow start and too-long act one that seems to lose itself within its own dialogue. Thankfully, act two is more focused in its writing and the pace quickens as relationships and conflict explode.
Director Daniel Burson does an excellent job making sense of gross's words and paints some beautiful stage portraits with his blocking. Under Burson's direction, layers are chipped away and the character's real pictures are revealed. Given the length of the play, Burson moves the story along as quickly as he can and provides all the tools needed to evoke feeling from the audience, especially when it comes to the relationship between Marie and Elisa.
(Marie) and Caroline Hewitt (Elisa) are period perfection. Their dialogue deliciously trickles from their lips as they maneuver their glorious costumes around the stage. Adair and Hewitt have solid, well acted individual characters but it is their relationship to each other that is like a rollercoaster of emotions. Hewitt, in particular, gives a beautifully layered performance.
There is no question that Tony Roach
(Alexis) can act well but never took total command of the stage or the role. There was a lack of fire in his passion for both the two women and his quest for revolution.
Maria Tzianabos's period choreography was unobtrusive to watch, executed well and enhanced every scene it was used.
, scenic designer, beautifully creates an artist's sketchbook set with imperfections and void of much color, allowing the actors to paint their self-portraits with the color of their performances. I loved the way Stewart's set transformed itself into each scene.
Applause must be given to production assistant Liz Pelty and wardrobe's Emily White who are dressed as servants and quickly bring on and take off set pieces and help with the many costume changes.
Bryon Winn, lighting designer, compliments every scene with his very effective use of light and gobo choices. Gel color is perfect.
, sound designer, brought ear appealing incidental music to the play, however, I have yet to figure out what the sound effect was being used at the start of each act. It was up for much debate by several near-by patrons at intermission.
There is no question that the costume design of Hugh Hanson
is the unspoken star of the play. Adair's costumes are simply stunning. Congratulations to Wigboys for some amazing high hair, beautifully maintained by James Herrera.
Stage Manager Myles C. Hatch runs a tight and smooth show.
Although the script has its flaws, the performances of Adair and Hewitt and Hanson's costume design should have you calling for your tickets today to experience this professionally executed period dramedy.
Playwright Gross asks the audience whether the purpose of art is to portray life as it is or as one thinks it should be. After much inconclusive debate, one can only leave the theater confident that Portland Stage Company has given us yet another example of what great art is.
Marie Antoinette: The Color Of Flesh continues through May 20 at Portland Stage Company, 25A Forest Ave, Portland ME. For tickets and more information call (20&0 774-0465 or go to portlandstage.org
PHOTO (by Darren Setlow): Ellen Adair
and Caroline Hewitt star in Marie Antoinette: The Color of Flesh at Portland Stage Company in Portland, ME.