Review: THE HALF-LIFE OF MARIE CURIE at Vermont Stage
This feminist tale of perseverance runs until April 5th.
Vermont Stage’s The Half-life of Marie Curie, written by Lauren Gunderson and directed by Laura Wolfsen, is a deeply layered story about the struggles of womanhood and relationships for two influential female scientists, Marie Curie and Hertha Ayrton, living in the early 20th century. The production opened at Main Street Landing on March 19th and runs until April 5th.
When first entering the theater, one is struck by the brutalist, asymmetrical walls and door of the set. The walls slant inward, drawing the audience’s eyes towards the middle of the stage, and there is a color motif of green in both the smaller painted details and the lighting. There are wood-textured hexagonal boxes spread throughout that give the impression of tables and chairs. The scenic design by Jeff Modereger is simple, yet effective, and lends itself well to the many literal and abstract settings throughout the play.
The play begins with Hertha Aryton (played with excellent grace and humor by Chris Caswell) giving the audience an explanation of her most famous work: silencing the loud buzzing sound that light bulbs used to emit. “You’re welcome.” She says. The scene then cuts to Marie Curie (played precisely and wisely by Alex S. Hudson) explaining both her tiring work mining radium and the vial of it that she keeps with her at all times, “It reminds me of Pierre, husband.” This opening gives the audience the sense that this is not just the story of one woman scientist, but of two brilliant-minded widows and the world around them.
After this close and intimate opening, the plot begins with Hertha fighting off journalists to arrive at Marie’s family home in Paris. Marie’s been turned into a walking public scandal after an affair with a married physicist, and Hertha has arrived to comfort and help her. Marie worries about her ability to continue her work, but also of what her two daughters must think, “They don’t deserve this, but now they live in a world that hates their mother.” Hertha tries to soothe and rationalize these fears while a distinct suffragette anger boils underneath, “You must be perfect and saintly and untouched, while the men do as they please.” Marie also reveals that she’s won a second Nobel prize, but been asked not to attend the ceremony due to the affair. Hertha insists that Marie attend the ceremony anyway, and invites Marie to come relax at her home on the beach in England over the summer.
The rest of the plot unfolds at Hertha’s beach home, as we see the relationship between Marie and Hertha wax and wane through the trials of their discussions of science, sex, love, and what it means to be widows, mothers, and women in a world dominated by men. This production excels at maintaining the many layers of the play while never seeming overwhelming, and the two actors, Caswell and Hudson, carry the show through with dedication and realism in their dialogue and emotions. I was personally delighted by the sound design, done by Sadie Kraus, and the way that gentle piano and the tick of radium weaves its way in and out of the story.
If you’re needing a reminder on how to be strong in the face of adversity, or looking to pay your respect to the Goddess of Proof, Vermont Stage’s The Half-life of Marie Curie is the show to see.
Photo by Lindsay Raymondjack Photography
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