Mrs. Dexter's husband left her for her best friend and she's so, so sad. Her slave wants to retire.
People who should see this show:
People who like Shirley Valentine
People who like hierarchy
People who like Rosie the riveter
I am the kind of guy who likes monologues that show different points of view, and I thought If We Are Women was a brilliant play. So when you combine that genre with that playwright, it is right up my alley.
People who should see this show:
People who like Shirley Valentine
People who like hierarchy
People who like Rosie the riveter
I am the kind of guy who likes monologues that show different points of view, and I thought If We Are Women was a brilliant play. So when you combine that genre with that playwright, it is right up my alley.
However, the play itself wasn't as good as I'd hoped for. It was pretty predictable, with fairly safe conventions and and nothing really special or surprising. I liked it, I just wouldn't have picked it for a season.
What strikes us every time when we go to the Stanley is the high production value. I know, I know, it's all about the words and the acting, and the Greeks didn't have sets, but I still like to see a cool set. And this one, a kitchen complete with working electrical sockets, freezer and plumbing, was pretty cool. The costumes were, if not incredible, believable without looking cheap, and perfect for the characters.
The play is basically two monologues: the first act by Peggy (the daily), and the second by her employer. Act 1 is fine; a lot of exposition, a lot of character work for both characters (Peggy's opinions tell us a lot about Mrs. Dexter before we even see her), and a few gags. But, regardless of Peggy's happy-go-lucky charm, the entire purpose of act 1 is to preload us for act 2, and I think that's a shame. Peggy's story as it's told to us isn't interesting enough to be a play in itself, unlike Mrs. Dexter's. The devices Glass uses for her monologues, although suited to the characters, also differed in quality: speaking to a friend who isn't there (Mrs. Dexter) is far more interesting than speaking to god or the audience (Peggy). Act 2 is a beaultiful piece of work, worth the exposition. Mrs. Dexter's story of betrayal and her reaction to it is what shines in the play.
The class structure of the play is interesting to me. I find it a bit disturbing that lower-class woman has the less compelling story, and remains dependent on her employer even to be able to retire comfortably. But now that I have a cleaning lady, I must admit that I'm less uncomfortable than I once would have been.
Both actresses did quite well, nearly dropping some lines here and there, but that was more than made up for by brilliant characterization. It's a pity that Cavendish didn't have more to work with in the script; act 1 was the weaker, but not due to her performance.
See it, if you get a chance. Bring your maid.
Some highlights
Nicola Cavendish's incredible live re-wiring of an electric fan: really cool.
Fiona Reid's drunk: brilliantly played, believably timed, and both sad and funny.
The class structure of the play is interesting to me. I find it a bit disturbing that lower-class woman has the less compelling story, and remains dependent on her employer even to be able to retire comfortably. But now that I have a cleaning lady, I must admit that I'm less uncomfortable than I once would have been.
Both actresses did quite well, nearly dropping some lines here and there, but that was more than made up for by brilliant characterization. It's a pity that Cavendish didn't have more to work with in the script; act 1 was the weaker, but not due to her performance.
See it, if you get a chance. Bring your maid.
Some highlights
Nicola Cavendish's incredible live re-wiring of an electric fan: really cool.
Fiona Reid's drunk: brilliantly played, believably timed, and both sad and funny.
