Review of Lettice and Lovage, Westport Country Playhouse
Very British and very verbal, Peter Shaffer’s amusing Lettice and Lovage, directed by Mark Lamos at Westport Country Playhouse, takes aim at ugly architecture and the vicissitudes of history, and finds its warmer tones in the unexpected bonds that can lead to friendship. It’s a benign farce, irrepressibly genteel—and if that sounds a bit like a fun oxymoron, then this play might be just the thing for you.
Kandis Chappell undertakes the role of Lettice Douffet, a role written for Maggie Smith, and gives a likeable and sympathetic performance, though without the withering dryness that Dame Smith could affect so tellingly. A fanciful tour guide at a stately but not particularly significant historical site, Lettice dreams up all kinds of vivid hi-jinx for her charges to witness in their imaginations. The opening scenes between Lettice and her various tours—played by local, non-Equity actors—are charming and well-timed. We see her go from the plodding “stick to the script” tour through increasingly fabricated accounts. Eventually, her wanderings from the path of historical veracity are shut-down by Charlotte Schoen (Mia Dillon), a formidable functionary who is having none of it.
The scene between the two of them, in the latter’s office, is crisp and engaging, as we learn of Lettice’s theatrical background—an actress mother who had her own way with enacting Shakespeare in France—and begin to think that Shaffer has found an interesting occasion for the intersection of theater and history: the guided tour! Lettice, we see, is a misplaced thespian, someone who has to take such “roles” only to make ends meet. A historicist who tends to prefer earlier times to the present, her calling is clearly something higher than could be assigned by Ms. Schoen’s office.
The second act brings this idea closer to fruition when Charlotte, in hopes of helping Lettice, pays a visit to her rather medieval-looking but still modest flat. John Arnone’s scenic design makes much of the space, including an intricate backdrop to contrast the flamboyance of Lettice’s decorating with the drabness of her surroundings. Her purpose in life, we realize, is to battle “the meres”—those who are satisfied with mediocre tastes, middling intellects, and who find uplift in the incoherence of modern architecture. What’s surprising—and it ends Act II on a high note—is that she may have found, after a few “quaffs” of the ancient beverage called lovage, an accomplice in Ms. Schoen.
Act III, after intermission, purports to be a bit of a who-done-what as there is now a solicitor on the premises, played with mystified patience by the unflappable Paxton Whitehead, and acts of violence to be accounted for. Lettice, who flirts with the idea of being a terrorist against appalling buildings, may have done who knows what. There’s fun in watching her incessantly grand manner come up against the prosaic—and unflattering—sensibility with which the law and the press handle those who aspire to a more imaginative realm for judgment.
Mostly, Shaffer’s play is what Sterne’s Tristram Shandy would call riding a hobby-horse, and the script is such as to make that hobby-horse pirouette and prance and canter. It’s not a race horse and takes its time getting where it’s going. The play’s strength is the appeal of its roles for middle-aged female actors, able to command the stage through the grace of their speech, the layers of their characterization, and, for Lettice particularly, eye-pleasing costumes by Jane Greenwood. The play is never quite as bizarre or as satiric as it might be, but, like much successful British humor, it makes the most of its idiosyncrasy.
Revived in a post-Brexit era, Lettice and Lovage smacks of a certain kind of Tory-style “Britain above all” that, it’s well to be reminded, had, even in the late-Eighties when the play debuted, a certain priggish daftness. The best that can be said about would-be architecture terrorists in the current climate is that they could be called anything but quaint.
Lettice & Lovage
By Peter Shaffer
Directed by Mark Lamos
Scenic Design: John Arnone; Costume Design: Jane Greenwood; Lighting Design: Philip Rosenberg; Sound Design: John Gromada; Fight Director: Michael Rossmy; Props Master: Karin White; Production Stage Manager: Megan Smith
Cast: Kandis Chappell, Mia Dillon, Sarah Manton, Paxton Whitehead
Tourists: Travis James, Kara Hankard, Richard Mancini (Surly Man), Michele S. Mueller, Robert Peterpaul, Hermon Telyan, Danielle Anna White
Westport Country Playhouse
May 30-June 17, 2017