The Fatal Weakness
by Marc Miller
So,
children, a brief history lesson on one George Kelly. Little-remembered now, he
was a big deal indeed in the first half of the 20th century, a
chronicler of the foibles and follies of upper-class Easterners. He knew
whereof he spoke: A well-to-do Philadelphian, he was Grace Kelly’s gay uncle.
His first play, The Torch Bearers, a loving spoof of amateur
theatricals, was followed by such hits as The Show-Off, Craig’s Wife,
Reflected Glory, and Philip Goes Forth. But his last work, 1946’s
The Fatal Weakness, was only a near-hit. A comedy-drama in equal parts,
Kelly’s examination of the consequences of adultery among the mid-century
gentry provided a bright setting for another forgotten theatrical legend, the
radiant leading lady Ina Claire, and ran 119 performances. And with one set and
a cast of six, it’s a prime slab of meat to throw at that invaluable preserver
of fallen-by-the-wayside theater history, the Mint Theater Company.
The
Mint’s 2014 production of The Fatal Weakness is happily now available
for viewing at its website, for free (but they’d welcome contributions, and
deserve them). Deeply conventional, the sort of single-set frolic that abounds
in well-timed telephone calls and doorbells, it’s literate, philosophical, and,
like most of the Mint’s output, indispensable as a time capsule. We’re in the
well-appointed living room of Paul Espenshade, a very successful… well, what he
does never comes up. Paul’s not around much, but his wife, Ollie, is there a
lot, mainly to receive guests. Primarily among them are her best pal Mabel, a
lively busybody who likes to get involved in other people’s business when she
isn’t dropping one-liners about marriage and errant husbands, and Penny,
Ollie’s nonconformist daughter, who’s not very happily married to Vernon, an
earnest young fellow, and the mother of a rambunctious three-year-old named,
for some reason, Bunchy. Meanwhile, Anna, the maid, dashes in and out, mainly
to utter “Yes ma’ams” and “No ma’ams” and move props around during scene
changes.
It’s
Philadelphia Story territory, then—standards and appearances among
society-column types, marital intrigue, high-tone folk acting in not-so-high-tone
ways—but it’s also more than that. In fact, Kelly appears to have written a
better play than anyone at the time realized. The characters develop slowly,
with Kelly adding layers until what first appeared to have been just types turn
out to have unsuspected shadings. Nobody’s entirely good or bad; Paul,
seemingly just a philanderer, turns out to have reserves of romanticism and
decency, while Penny’s capriciousness is revealed to mask complex,
understandable conflicts.
Kristin Griffith and Cynthia Darlow in THE FATAL WEAKNESS by George Kelly.
Photo: Richard Termine
It’s
a funny play, too—though running through the dialogue, one fails to see a lot
of laugh-out-loud moments. Credit director Jesse Marchese, who paces it at His
Girl Friday speed, with the actors stepping on lines and scarcely taking
time to breathe. Anna: “I always thought weddings were sad… especially when you
know the way the majority of them are going to turn out.” Not a knee-slapper on
paper, is it? But it is here, and I had to wait for the credits to find out
why: She’s Patricia Kilgarriff, a reliable veteran who at one time played
Shirley Valentine on Broadway. Anna normally wouldn’t be a scene-stealer, but
Kilgarriff makes her one.
Kristin Griffith, Cliff Bemis, and Cynthia Darlow in THE
FATAL WEAKNESS by George Kelly. Photo: Richard Termine
And
she’s in fast company. Judging from Ina Claire’s few screen appearances,
notably Ninotchka and The Greeks Had a Word for Them, wouldn’t we
love to have seen what she could do with Ollie. But Kristin Griffith’s pretty
brilliant herself, employing an uncategorizable but mellifluous mid-Atlantic
accent to emphasize Ollie’s breeding, and letting her feelings creep through
her upper-class reserve. Cliff Bemis, perhaps not the ideal physical choice for
Paul (the other characters keep observing how sturdy and youthful he is;
really?), underplays elegantly, and Sean Patrick Hopkins’s Vernon is exactly
the well-spoken, capable Ivy Leaguer Vernon ought to be. Cynthia Darlow belts
Mabel out of the park: She’s Eve Arden, Agnes Moorehead, and every second
banana you relied on to knock some sense into June Allyson or Jane Wyman.
Victoria Mack gets most of Penny right, though you might expect a girl of her
breeding to be a little less flighty, and keep her emotions further below the
surface.
Kristin Griffith and Victoria Mack in THE FATAL WEAKNESS by George Kelly.
Photo: Richard Termine
They’re
dressed to the 1940s nines by Andrea Varga, and Vicki Davis’s heavily mirrored
set looks just as a toney living room in a mid-century, mid-rise luxury
building along Benjamin Franklin Parkway should. The Mint has taped the
production astutely, except for a few odd long shots revealing a perfectly
still audience in silhouette, looking a lot like the bottom of a Mystery
Science Theater 3000 screen.
We
should all take a moment to kneel and thank companies like the Mint (and
Manhattan Theater Club, and Irish Rep, and so many others) for nurturing our
hunger for evenings in the theater at a dark time when such evenings were
impossible. Further complications aside, we’ll be back in fifth-row center in a
few months; meantime, this expert, well-bred, fast-moving Fatal Weakness
is a lovely substitute.
The
Fatal Weakness
Off-Broadway
play
Running
time: 2 hours 5 minutes
Available
through June 27 at minttheater.org