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The Scarecrow
By Melinda Schupmann
In a time when the creation of life is a hotly debated topic, Percy MacKaye's classic fantasy about the transmogrification of a scarecrow into a man becomes even more intriguing, like so many stories which address morality and the human condition. First produced in 1911 from a Nathaniel Hawthorne short story, "Feathertop," from Twice-Told Tales, its themes are as contemporary as yesterday's headlines.
Fierce and coarse "Blacksmith Bess" (Alley Mills), angry at the world in general and some errant crows in particular, conjures up the Prince of Darkness, Dickon (a delicious Orson Bean), to assist her in creating a scarecrow. In the process, a plan develops to enhance the scarecrow with human form to plot revenge on her former lover, Justice Gilead Merton (played with blustery sanctimony by Steve Irish.) His niece, Rachel (Jacqueline Heinze), intrigued by witchcraft and a customer of Bess's, becomes the means by which the revenge can be enacted.
In a clever bit of stage magic, the pumpkin-headed scarecrow becomes Lord Ravensbane (Tom Wood), who sets out to learn about life, guided by the humorously wicked Dickon. In the process, of course, as he learns about humanity and love, his transformation reaches beyond the malevolent and into the romantic idealism necessary for an optimistic ending.
Wood is marvelous as the emerging young aristocrat whose wide-eyed enthusiasm for learning how to be human is infectious. In exchanges with Rachel's intended, Richard Talbot (Tony Crane), he is first awkward and then more confident as he is attracted to Rachel and learns about love. With deftly handled humor and melodrama which never reaches the maudlin, he is the embodiment of the human spirit.
As we examine our contemporary national leaders who have a public rectitude and a private lechery, Justice Merton becomes an even more intriguing character. The timeliness must not have been lost on Director Charlie Stratton, who has Merton squirming under the threat of disclosure. Stratton manages the strong ensemble well, allowing the mischievous actors to deliver broad characterizations without becoming caricatures.
Scenic design by Kis Knekt, costumes by Audrey Eisner, and lighting design by Jill Proctor add strong dimension to the production. Lyrical and engaging, this play should not be missed.
Pacific Resident Theatre, 703 Venice Blvd., Venice. (310) 822-8392. Fri & Sat at 8, Sun at 3. Closes Aug. 12. $20-23.
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