Hartford Stage, Hartford, CT
through May 6, 2018
by Shera Cohen
“The Age of Innocence” becomes a painting of the beautifully
stunning New York City at the turn of the last century. Life was slower,
pretense was ever-present, and the class-system was dictate. We see characters
walk through their perfectly steadfast
stations in time, exquisitely designed because no less would suffice.
These people are the nouveau riche. The story depicts a love triangle, with
weak Newland at the center, bookended by sweet fiancé May and scandalous cousin
Ellen. It is important to know that “scandal” of 1920 meant outcast and scorned
for behaving in ways that are different from the norm. Ellen is a woman about
to be divorced – hardly of any consequence by today’s standards.
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| Photo By T. Charles Erickson |
The story is told with the advantage of hindsight. Boyd
Gaines (The Old Gentleman, aka Newland’s older and wiser self) portrays the
most believable character. He speaks directly to the audience. Gaines’ subtle
movements on stage often mirror those of actor Andrew Veenstra’s young Newland.
We see and hear the anguish of the love-tortured man through Gaines’
character’s retrospect. It is a stretch to compare Gaines to Veenstra,
especially physically. While Veenstra displays acting skill and might be
excellent in another play, he is miscast in “Innocence” – a primary reason
being his seemingly boyish age.
Sierra Boggess presents a sophisticated warmth and
sensitivity to Ellen as a woman put in an unenviable position by the mores of
the time. Boggess is given the opportunity, albeit short, to sing in her lush
soprano voice.
While most audience members may count Helen Cespedes in a
supporting actor category, she gives May a demure and dull façade while
simultaneously determined and wily. Cespedes successfully creates an unassuming
girl turned woman in a flash.
Director Doug Hughes and Scenic Designer John Lee Beatty
have shaped an extraordinary backdrop for the characters. The set is elegant,
at the same time uncluttered so that the comings and goings of those onstage is
smooth and clear. Linda Cho’s costumes could (should) win awards. All actors
(female and male) are bedecked extravagantly as becoming the era and class.
Yet, perhaps extraordinary, extravagant, and exquisite can be a bit
overpowering. In the case of “The Age of Innocence,” the trappings sometimes
distract from the characters and the actors’ talents.
Edith Wharton, author of the Pulitzer Prize winning novel
“The Age of Innocence” would feel at home watching Douglas McGrath’s adaptation
of her work. My guess is that McGrath’s task of condensing this classic
dramatic story into an hour and forty-minute play was extremely difficult.
Kudos to him.
