Boston Marriage

Reviewed by Holly Bartges

It would be all too simple to get involved in a lengthy discussion whether David Mamet devilishly catches himself up in masterfully tangled dialogue for the sake of a laugh, whether he holds women in distain, or even the human race at arm’s length.

(Left to Right) Kathleen M. Brady as Catherine and Annette Helde as Anna in the Denver Center Theatre Company’s season-opening production of Boston Marriage. David Mamet’s uncharacteristically feminine comedy — directed by David McClendon — runs in The Jones Theatre thru December 23. Photo by Terry Shapiro

To appreciate his play Boston Marriage, currently playing at the Jones Theatre in the Bonfils Complex at the DCPA, all it takes is careful listening, an appreciation of the English language, and a marvel at the conditions he places his characters.

In 1999 the American Repertory Theatre commissioned Mamet to write Boston Marriage. His first period play, saddled with poetic travesty of biting words, Mamet takes us inside a New England household fraught with Victorian moral standards with a fly on the wall view of coping women.

In today’s terms, Anna (Annette Helde) and Claire (Robin Moseley) would be classified as Lesbians. In 19th Century proper Victorian society, two women living alone were classified as Boston Marriages.

Society so does enjoy classifying people, in pairs, or otherwise, including playwrights. Mamet’s genius lies in his grasp of the English language, allowing words to dance and bounce between the dictation of his character’s personalities. There is no requirement to like the characters, only to listen to them, allow them to be heard, and be willing to go with them behind the obvious structure in which they live to discover their why’s and wherefore’s. Boston Marriage presents a slew of why’s and wherefore’s.

It takes tremendous confidence in any relationship to argue, disagree. It takes a high under current of love, comprehension, and acceptance. Claire and Anna have it. Constrained to a highly moralized fabric in which to cut out their lives, their frustration, tension, and defense molds itself in terms of war with words, words as weapons.

Brilliantly directed by David McClendon, Mosely and Helde were born to portray these talented, constrained, unleashed “verbalists” who enjoy spitting out the words as much as they tickle themselves with the results.

Claire reels from the opulence of their new home dead sure she is at the wrong address. Anna swirls with delight that a man is so entranced with her, giving her whatever her heart desires. To live the high life, she shamelessly will do whatever it takes.

Helde and Mosley, a perfect match for the broad-base requirements. They bring these two characters to life with delicious flamboyancy. Helde captures Anna’s little girl “I want what I want when I want it’ demeanor, and ’I will pout and sulk when threatened.’ Mosely gives Claire a down to earth treatment of age anxiety when she falls for a younger, a much younger woman. She flaunts the moxy of knowing her fear of growing older snaps at her heels.

Serving their every whim, their Scottish maid, Catherine slips, slurs, slides, jumps with the knack of incredible expertise provided by Kathleen Brady. Submissive, bowing to the constant torment handed to her, Anna can never remember her name, forget she from Scotland, and makes rude tormenting references to the Irish potato famine. In her shuffling crying jags, Brady wears the underskirts of knowledge and wisdom. Catherine may act the part of victim of verbal abuse, but Brady knows how to walk the line with Catherine between being a victim and playing the victim. We may not appreciate the way Anna, especially, torments Catherine, but behind the lines, and behind the skirts lays a deeper story. She knows a secret, allowing her to live with the play-acting. Brady masterfully knows how to reveal both sides at the same time.

Surrounded by a magnificent set designed by Lisa M Orzolek, of a 19th Century ornate parlor, and stunning costumes designed by Kevin Copenhaver, Mamet’s multi-layered entangled issued play tickles the imagination of thought provocation. It may zero in on Boston Marriages but the issues revealed of “I want what I want when I want it,” age demons threatening one’s youth, deceitfulness in relationships, verbal abuse, aren’t very much different in our politically constrained current society of playing nice games. Anna and Claire know the depth of their relationship, drawing their weapons with frivolousness, humor, delectable delight, and funny. Hidden boundaries tie them together. To miss this production is to miss a multi-layered psychology course in the limits of human nature. Boston Marriage is a brilliant piece of writing, with inspirational direction, magnificent detailed characterizations, and a feast for the eyes with a gorgeous setting.