The Little Foxes
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Duffy, Singer, McGillis, Vinovich
Craig Schwartz
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By Ben Miles
The title of the play, The Little Foxes, comes from Chapter 2, Verse 15 of the Song of Solomon in the King James Version of the Bible: "Take us the foxes, the little foxes that spoil the vines…" But the 1939 script comes from the hand and creative mind of Lillian Hellman, arguably America's most underrated dramatist. Now through June 28, the Pasadena Playhouse is exhibiting a revival of Foxes made relevant by the detailed directorial touches of Damaso Rodriguez.
Regina Hubbard Giddens (the formidable Kelly McGillis) is the pre-feminist protagonist of Foxes. Hers is a struggle for riches, independence, and power in the post -antebellum South of the early 20th century. Though Regina is one of three adult siblings, only her rapacious brothers, Oscar and Benjamin (the emphatic Marc Singer and the imposing Steve Vinovich, respectively), are entitled as decision-makers and heirs to their family's estate. This leaves Regina reliant on her physically frail but quite wealthy husband, Horace (a convincing Geoff Pierson) for financial support.
Unctuous Oscar is unhappily married to booze-bound Birdie (Julia Duffy playing the two-notes of addiction and relational dependence effectively, if at times gratingly)--a coupling based on wealth acquired through Birdie's family-owned cotton plantation. Now Oscar is conniving with Benjamin to have the Hubbard Brother's own cotton mill. They need an additional $75,000.00 to invest in the endeavor, however. Oscar's initial idea is to have his son, Leo (Shawn Lee in an energetic portrayal), wed Regina's daughter, Alexandra (adequately performed by Rachel Sondag), in order to grab Horace's money. But Horace and Alexandra and other relatives are opposed to nuptials between the first-cousins.
Foxes has been through many iterations and revivals over its 70-year history. In the original production, the sultry Tallulah Bankhead embodied the man-eating Regina. In 1941, a movie version starred Bette Davis in the role. In the 1967 Broadway redo, Anne Bancroft had billing as Regina; and, in 1981, Elizabeth Taylor had her turn in the coveted part. All of these productions were critical and box-office successes. Presumably,
each treatment was tailored for and spoke specifically to the epoch in which it was produced. Such is the case with this Pasadena production. With references to bonds, at-risk bondholders, speculators, speculations, and get-rich schemes--as well as dialogue about the levies laying too low to prevent the flooding of New Orleans--Foxes remains startlingly prescient. Though the plot of Hellman's masterwork unfolds in a setting unique
to the dawning of the 1900s, the themes, dilemmas, and issues broached here are unnervingly similar in currency to our own era.
The racial epithets and assumptions alluded to in the play's discourse are a disturbing reminder of a period now thankfully, hopefully, behind us as a nation and as individuals. Sadly, the human vices of greed and deception seem all too familiar to our time.
Theatrically speaking, the stagecraft on display here is captivating in its depth and color. In addition to a top-notch ensemble (including Yvette Cason as Addie; Cleavant Derricks as Cal; and Tom Schmid as William Marshall), Mary Vogt's costumes are petty bourgeoisie and period appropriate, as is Gary Wissman's Southern Gothic scenic design. Also, Dan Jenkins's lighting and Michael Hooker's sound motif add an ambiance to the proceedings that seems indispensable to the mise en scene of this ambitious production.
The Little Foxes continues at the Pasadena Playhouse--39 South El Molina, Pasadena--through June 28. Performances are Tuesday - Friday at 8 p.m.; Saturday at 4 p.m. and 8 p.m.; Sunday at 2 p.m. and 7 p.m. For reservations, call (626) 356 - 7529. For more information, visit www.pasadenaplayhouse.org.
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