American men speaking in coarse but witty language about sex, greed and longing is a hallmark of David Mamet plays. But in 1998, he proved he could give equal attention to female characters with the clever parlor-room comedy "Boston Marriage."
Set in turn-of-the-century New England, it's the story of three women speaking in arch but provocative language about ---- well ---- sex, greed and longing. Hey, it's a Mamet play, after all.
The play is having its San Diego premiere this month at Compass Theatre in a production that's well-designed and thoughtfully directed, but that was still feeling unfinished during its opening weekend. The actors had yet to master the script's elevated language, and there were no traces of New England accents. Maybe with time, the show will settle in and Mamet's witty dialogue will begin to sound natural.
"Boston marriage" is a phrase coined in the late 19th century for women who lived together independently (either as lovers or as platonic friends). In this play, the companions are former lovers Anna and Claire, who have parted amicably and moved on to other relationships.
On this day, the haughty, much-older Anna welcomes Claire in her parlor, and they share news of their latest loves. Anna has reluctantly taken a lover, a wealthy married man who provides her financial security and baubles (including the extravagant emerald necklace she's wearing). Claire has a new love interest, a virginal girl whom she's asked to meet that afternoon at Anna's (she's hopeful that Anna will offer a spare bedroom for their "vile assignation").
Anna ---- who weights each crisp word with venom (most of it directed at her hapless Scottish maid Katherine) ---- ultimately agrees, provided that she can watch the coupling. But when Claire's friend arrives, all is lost when the girl recognizes the emerald neckace around Anna's neck as her mother's.
In the second act, Anna and Claire struggle to salvage their love affairs and their reputations, especially when the emerald necklace (which has been demanded back by Anna's furious ex-beau) disappears. Could it be in the hands of Anna's brow-beaten and seemingly stupid maid Katherine ---- or might it be the tool one of the women will use to manipulate the other?
Mamet seems to have drawn on Oscar Wilde for the play's literary style and romantic witticism, though there's a rawness to the sexual double-entendres that would have raised even the flamboyant Wilde's eyebrows. There's also a smugness and artificiality to the dialogue that grows wearisome fast. If Mamet had focused less on being clever and more on the reality these women faced (forced by society and economic need either to marry or be a man's mistress), it might be a more interesting play.
Director Don Loper (with assistance from Caren Heintzelman) keeps the 100-minute, two-act show's pacing brisk and builds momentum in the second act. One area needing work is the accents. Anna and Claire are supposed to be New England natives, but have no accents. And Katherine the maid is supposed to be Scottish, but sounds Irish. Lisa Burgess' costumes are rich and in period. Adam Lindsay's chintz-covered set is well-appointed. Lila Martinez designed lighting.
Anne marie Houghtailing is sly and brittle as the wily Anna, who schemes her way in and out of relationships and tosses off colorful barbs at her hapless maid. Loaded down with the bulk of purplish one-liners, she still seemed to be reciting from a script on opening weekend, but she's got the attitude right. Ravenna Fahey is more natural as Claire, but she seems too contemporary in her speech and physicality. Michelle Brooks adds a lot of laughs to the play as Katherine, the Scottish maid with a big secret.
"Boston Marriage"
When: 8 p.m. Thursdays-Saturdays; 4 p.m. Saturdays; 2 p.m. Sundays; through Nov. 22
Where: Compass Theatre, 3704 Sixth Ave., San Diego
Tickets: $20-$23
Info: 619-688-9210
Web: compasstheatre.com
