A complicated 'Marriage'

When I sat down in Theatre Intime to see David Mamet's "Boston Marriage," I was baffled by the title. The Victorian term, I was quickly informed, refers to a relationship in which two women who are very close friends choose to abstain from marriage and live with each other instead. Even in that repressive era, it was not uncommon for a romantic relationship to blossom between them, behind closed doors.

Mamet's play chronicles two upper class Victorian women, Anna (Georgie Sherrington '08) and Claire (Bridget Durkin '07) who live together. Anna has just become the mistress of a married man to finance the two women's lifestyle. Claire, meanwhile, professes her love for a young girl, and invites her to live with the friends, much to Anna's dismay. Catastrophe unfolds, however, when a startling discovery is made upon the young girl's arrival.

Famous for his sharp, cutting and clever dialogue, Mamet uses conversation to expose conflicted characters' hidden secrets. His witty wordplay carries with it such a strong undercurrent of feeling and history that the audience is transported into his world right from the beginning.

Directed by Liz Abernethy '07, this production of "Boston Marriage" was true to the intimate nature of Mamet's work. As Anna, Sherrington becomes her character, breathing vitality and strength into every word she spoke. Her knack for comedic timing delicately illuminates Mamet's sense of humor. Her portrayal of Anna's emotional life is rich, and her interpretation of Anna's eccentricities make for a thoroughly engaging and seemingly flawless performance. Sherrington embraces Mamet's work, and shines.

The production is further enhanced by a beautiful set by Caleb Howe '07, depicting the sitting room of the Victorian home with such attention to detail as crisp molding and a hardwood floor. Will Ellerbe '08, the lighting designer, artfully creates an impression of the sun's rays on an elegant window seat.

Some of the potential greatness of Mamet's writing, however, is not fully realized in this production. His dialogue is powerful and fraught, and requires a lot from the actors. More often than not, their inability to convey the full meaning of this dialogue leaves the audience feeling lost; it is a relief whenever an actor came downstage and turns her face to the audience, exhibiting her full expression and helping to guide interpretation of the packed dialogue. Perhaps a slight alteration of stage direction could make this occur more frequently, so that the audience would not have to strain to digest Mamet's quick parlance. As it stands, the audience is hard pressed to catch every witticism and subtle remark.

Direction aside, the acting in this production is uneven. To be fair, there is no question that Mamet's work demands a lot of the actors who take it on. His characters are so complex that they seem full of contradictions, often saying one thing and doing another. It is not surprising, then, that these actors to fall short of completely inhabiting their roles.At points in this production, the characters seem vague, noncommittal, or simply over the top. To play up the funny moments at the expense of subtlety is to flatten Mamet's rich comedy, to lessen its raw impact. Only when a character is fully understood and internalized can the audience feel Mamet's grit.

Overall, entering into the life of "Boston Marriage" is a highly enjoyable experience, providing commentary on social expectations — particularly the necessity to repress an insatiable desire. A satisfying mixture of honest emotional turmoil and witty banter, "Boston Marriage" is a voyage into another world.

"Boston Marriage," directed by Liz Abernethy '07, will play at Theatre Intime September 28, 29, and 30 at 8pm, with an additional matinee performance on September 30 at 2pm. See Theatre Intime for more informtaion.