MAJOR TO MINOR
The Pearl Theatre Company and Gingold Theatrical Group’s revival of George Bernard Shaw’s 1905 comedy Major Barbara feels like theater for people who go to shows for the same reasons many of us watch television programs—not because they’re great but because they’re good enough, occasionally entertaining, and it’s something to do. Not to trivialize—clearly a lot of effort went into putting this on. The production boasts capable actors, there’s a richness to the set and the costumes, and the source material is certainly first rate. In fact about half of this four scene offering is quite entertaining. The other half, not so much. Overall, the show lacks an essential spark.
A major in the Salvation Army, Barbara (Hannah Cabell) is one of three adult children belonging to Lady Britomart (Carol Schultz) and Andrew Undershaft (Dan Daily), a wealthy and influential weapons manufacturer and absentee father who hasn’t seen his offspring in years. When he finally meets them he doesn’t think much of his mama’s-boy son Stephen (Alec Shaw), nor does he take much interest in Sarah (Becky Baumwoll), or her idiot fiancé Charles Lomax (Cary Donaldson).
Given Barbara’s burning spirituality and iron character, Andrew likes and admires her instantly. He wants her to be on his side. The problem is her mission is helping the poor and saving their souls, and she finds his occupation and money detestable. She offers to save him from himself, to convert him, inviting him to a meeting at the Army. Andrew goes, but for his own reasons. Whereas Barbara wishes to save his soul, her irresistibly charming father wants to buy hers.
Encased in a comedic shell, Shaw’s engrossing exploration of man’s battle between the spiritual and the material, between ideal and reality, remains as relevant today as it was over one hundred years ago. And when the script makes conflicts and motivations clear and apparent, as it does in scene II of the first act and scene II of the second, the show becomes exciting. But the other two scenes—in which the dramatic elements are more opaque—stagnate.
It feels as if Mr. Staller fails to create clarity of purpose for his performers when it’s not blatantly there on the page. At these moments his actors don’t seem to have much to do except to be English gentry, and their portrayals feel artificial, as if they’re playing their ideas of their characters, or trying to imitate Downton Abbey.
Mr. Staller’s alterations to the script seem unnecessary and his blocking is dull throughout; it’s especially problematic during Barbara’s last speech to her fiancé Adolphus (Richard Gallagher). Even James Noone’s black and gold set, which begins as the interior of Lady Britomart’s mansion, looks very luxurious when Michael Gottlieb’s lights are low but not quite as well when they are up. It’s difficult to figure out what, if any, artistic statement Staller is making, which is why this Major turns to minor.
Additional cast: Bradford Cover, Robin Leslie Brown.
photos by Richard Termine
Major Barbara
The Pearl Theatre Company and Gingold Theatrical Group
The Pearl Theatre, 555 West 42nd Street
Tues at 7; Wed, Sat & Sun at 2; Thurs-Sat at 8
scheduled to end on December 14, 2014
for tickets, call (212) 563-9261 or visit www.pearltheatre.org