Most people, if they remember
"A Philadelphia Story" at all, it is as a 1941 film,
starring Katharine Hepburn, Cary Grant and Jimmy Stewart. In
fact Stewart got an Oscar for his role as Mike Connor. Thus,
"Philadelphia Story," now playing at the Waukesha
Civic Theatre, is an old story, but not without its merits for
modern day audiences. Prejudices and biases will always exist
between different groups whether based on age, gender,
economics, ethnicity, political affiliation, levels of
education, religion or sexual preference. We tend to relate
best with people most like ourselves, and often form
stereotypes about people who are "different."
This is a story about class differences. Two reporters,
Mike Connor and Liz Imbrie, are sent to the Lord estate, to do
a study of how the moneyed class lives. It just so happens
that their arrival coincides with an upcoming second marriage
that is about to take place between Tracy Lord and George
Kittredge, someone who has made his way up from the working
class. Tracy’s first husband Dexter is not at all at ease
with this upcoming union and drops by to let his fears be
known. Meanwhile, Connor, who goes into this assignment with
all his prejudices hanging out concerning the non-working
rich, finds himself reluctantly but strongly attracted to
Tracy. But Imbrie is in love with Connor, so throw that fact
into the romantic morass.
Tracy, well portrayed by the ever-reliable Ruth Arnell, a
headstrong woman who is adored for her beauty, but would
rather be seen as making some sort of contribution, is
restless and unfulfilled. She thinks she will find happiness
by marrying again and being the perfect wife and mother, but
George is not her intellectual or cultural match, at least
according to the two other competitors vying for her hand.
The other characters in the scenario seem less developed,
but the three main characters - Tracy, Connor, and Dexter -
are clearly delineated by the aforementioned Arnell, Mark
Neufang and Will Elwood. Elwood was especially good at being
suave in his manner and incisive in his comments. Among the
minor characters who deserve mention for creating consistent
and engaging roles are Jeff Davis as the impish Uncle Willie
and Tracy’s younger, outspoken sister Dinah, well portrayed
by the exuberant Haley Gray-Hoehn. Though Jenny Kosek did not
have a large role, her face and voice executed some good
one-liners as reporter Imbrie. She uses her large, expressive
eyes well.
The pace is a bit slow at the beginning, but it definitely
picks up in the second and third acts. There are times when
the dialogue seems very stilted, but there are other times
when it is quite natural and realistic. The scene when Tracy
and her three suitors all collide is one of the best moments
in the play because the background of the three wooers are
sharply contrasted here, and suspense mounts as we try to
guess whom she will end up marrying. Dinah provides some humor
to the confusing proceedings when she starts drawing
assumptions from her curious snoopings. In fact, there are
many times when Dinah livens up a scene.
Though it is not an exceptionally thought-provoking play,
it does bring up some interesting observations about
prejudices, how they are formed and how difficult they are to
break down, and also how relationships can only be lasting
when both parties are tolerant of their own and their partner’s
flaws and differences. Being put on a pedestal may be
flattering, but it is both precarious and unrealistic as well,
and Tracy finally realizes that.
The alternating set designs (Michael Halaska) reflect the
posh classiness of the wealthy along with servants quietly
bustling about making sure their masters and mistresses are
being well taken of. Costumes are well chosen in keeping with
the era (Aleta Bernard).
Directed by Reva Fox, the show runs through Nov. 23 at the
Waukesha Civic Theatre on Main Street. Call (262) 547-0708 for
times and tickets. It’s always a pleasure to resurrect an
old story and prove its timelessness.
