CLIMBING THE MOUNTAIN OF WAGE INEQUALITY
Time for reflection for today’s workforce. How long will workers tolerate the vast chasm in America between the 1% and those who are just scraping by? The playwright of DIANA OF DOBSON’S, Cicely Hamilton, deals with this same issue, amplified by the societal implications of a long forgotten era with a laser focus on the female predicament under
those circumstances. It all plays out on the intimate Antaeus Theatre stage in the LA suburb of Glendale, CA thru June 3. The old becomes the new, it seems.
The audience meets the workers, an assortment of young ladies who are employees of Dobson’s Drapery Emporium in London, as they are finishing their 14 hour work day. Their surroundings are certainly bleak as they prepare for bedtime, revealing their unsettling environment where exacting expectations from the management rule and dreams about a more promising future appear to revolve solely around the idea of their securing a husband. The opening scene introduces us to Kristen Ariza (“Miss Smithers”), Erin Barnes (“Kitty Brant”), Kendra Chell (“Miss Jay”) and Jazzlyn K. Luckett (“Miss Morton”) as they commiserate about their woes to one another. This small ensemble expertly grounds us in Edwardian times in London (1908 to be precise) and prepares the audience to explore societal mores as they apply to the female workforce.
In whooshes Abigail Mark‘s ((Miss) “Diana Massingberd”), a force of nature as potent as a tornado, to stir up some trouble (this seems to be her calling card). She revels in rule breaking, and undoubtedly dabbles in untoward ways (e.g. gossiping, unladylike dress, etc.) with an accumulation of fines for her misdeeds ensuing as a result. The drudgery of
Diana selling hosiery, along with the strictures aimed at a woman in her circumstances, leads her to the conclusion that she’ll soon be moving on to another workplace with similar expectations. Out of the blue, a surprise development!
It seems Diana has been bequeathed a tidy sum of money (approximately $250,000 in today’s dollars) from a distant relative. Will she be responsible and set aside the bulk of the money for a future devoid of the onerous demands on her person? Of course not. She intends to “live it up” as the saying goes and dip her toes into luxury for as long as the money lasts. Finally unfettered, Diana relishes the opportunity to taunt the straight-laced supervisor, a taciturn Rhonda Aldrich (“Miss Pringle”) on her way out the door. It’s “take this job and shove it” for the emboldened Diana and the next time the audience engages with her, she is cradled in the lap of luxury at a resort in Switzerland, posing as a rich widow (“Diana Massingberd”), this time missing the “Miss”.
The clever setting designed by Nina Caussa transforms in front of our eyes with the depressing environment now replaced by a hotel boasting opulence. The finishing touches seemingly appear as if choreographed by the ensemble of maids and wait staff to lavish effect. Diana has apparently settled into her new circumstances with ease, becoming the source of a great deal of societal interest as she mingles with those who are clearly above her station as compared with her previous life. Cicely Hamilton, the playwright and a lifelong suffragette and advocate for “a woman of independent means” (in the words of Oscar Wilde) here explores the class distinctions so prevalent in that era. Ms. Mark’s effortlessly glides into the niceties of a posh existence and demonstrates a notable acting range which challenges her further as the play proceeds.
Now enter some men in her life as she lives a life of privilege in Switzerland. First, it is Tony Amendola (“Sir Jabez Grinley”), a man not unlike her previous boss, who expresses interest in her while steeped in the advantages of his situation and willing to expound on the techniques involved in accumulation of more and more money. Next, it is the turn of John Bobek (“Captain The Hon. Victor Bretherton”) to clumsily woo the newly revealed heiress at the urging of family (again Rhonda Aldrich playing “Mrs. Cantelupe” this time), a strong determined woman intent on advancing his fortune. Both of the men fail in their mission, yet the Captain seems to be pleasant enough.
Onward to the next setting on the banks of the Thames and a curious encounter. Diana leaves her wealthy lifestyle once her funds are exhausted and becomes homeless and generally out of sorts. Meanwhile, Captain Bretherton takes up Diana’s earlier challenge to live without use of his resources and minus the advantages of his station, placing him in similar circumstances. Besides their chance meeting, they hear some sage advice from Elyse Mirto (“Old Woman”; earlier, she played a privileged guest at the Swiss hotel (Mrs. Whyte-Fraser)). Also, Paul Stanko (“Police Constable Fellowes”) reminds us that kindness can be
found in the midst of so much despair. What is to become of the bedraggled couple? No spoilers here.
The complexities of these relationships are sorted out quite nicely by director Casey Stangl, one of the area’s finest practitioners in this arena. She breathes new energy and relevance to this play. It obviously resonates for today’s workers because of both extreme money and class disparities, moving ever forward to a possible explosive result.
Shout out in particular to Costume Designer A. Jeffrey Schoenberg with successful contributions from Jessica Mills‘ Wig & Hair Design. Kudos also deserved by Nike Doukas for splendid accent guidance to the cast. All of the other technical elements are just right.
DIANA OF DOBSON’S is another feather in the cap for the Antaeus in its search for vital classical theatre in service to the Southern California audience. Intriguing theater is always just around the corner at the Kiki & David Gindler Performing Arts Center.
pc: Geoffrey Wade
Theatre Curtain Calling… Reviewing the Situation
