Theater review: David Mamet’s “Boston Marriage” at the Compass Theatre
By Charlene Baldridge
Playwright David Mamet’s “Boston Marriage” was his 1999 response to criticism that he doesn’t write good roles for women. The all-female three-hander, directed by Don Loper, is currently seen in its San Diego premiere through November 22 at Compass Theatre in Hillcrest.
“Boston Marriage” is a comedy of manners rife with refined, upper-class language of late 19th century New England and filled with covert and overt sexual repartee and literary references. The action concerns two smartly turned out, independent women who are former domestic partners in a Boston marriage — a veiled term referring to women, usually of independent means, who live, and perhaps love, together.
Claire (Ravenna Fahey) is the younger of the two protagonists. She has been away for a while and Anna (fetchingly bitchy Anne Marie Houghtailing) hopes to re-establish their former relationship. Claire remarks immediately that the décor has changed since last she entered Anna’s parlor. Anna reveals that she has become the mistress of a married man, who affords her a monthly allowance and who has given her the magnificent emerald necklace she wears. All this, she says, “I did for us,” meaning she actually sleeps with a man in order to support Claire in a style she deserves, replete with chintz in the bedroom. Anna’s description of heterosexual intercourse is worth the price of admission.
Much to Anna’s displeasure, Claire announces she is in love with a much younger, naïve girl and has arranged an assignation that very afternoon at Anna’s. Obviously, there is nowhere else to go and Anna is so generous that she can entertain the girl’s mother with tea and pie whilst Claire conquers.
The play is an elegant, extended argument about relationship and how to overcome all the complications that arise. Act I ends with a bombshell, but after that the work does not support its length despite the eleventh-hour delight of the women dressing as preposterous gypsies to lure the lover, the girl and her mother to a séance. In addition, Mamet’s injection of the hilarity of Anna’s mistreatment of her Scots maid (Michelle Brooks) grows tedious, as does Anna’s misconception that the girl is Irish.
Loper’s staging and actors are fine, though a dialect coach might have put Houghtailing and Fahey even more on the same page linguistically and perhaps effected a more believable Scots’ inflection in Brooks’ delivery. There were a few textual stumbles opening night (November 5) so one expects that the delivery of Mamet’s rhythm will improve with time.
Aside from these observations, those who love language and sexual innuendo and are curious what Mamet can do for and with women may find much entertainment here. Visually, set designer Adam Lindsay’s pink and garnet colored, emerald-accented set is a finely-detailed joy to see, and Lisa Burgess’ like-colored period costumes are a delight, as is the Victorian furniture.
“Boston Marriage” continues at 8 p.m. Wednesdays-Fridays, 4 and 8 p.m. Saturdays, and 2 p.m. Sundays through November 22 at the Compass Theatre, 3704 6th Avenue, Hillcrest. Tickets: $20-$23. www.compasstheatre.com, (619) 688-9210.
Charlene Baldridge is a freelance arts writer and member of San Diego Critics Circle.
