Sophie Treadwell's "Intimations for Saxophone" debuted at Arena Stage on Thursday, as part of the theater's lost-and-found series in which it produces the forgotten plays of American writers.
Treadwell, who wrote the play in her thirties, was a unique figure in American Expressionism because she was a woman, and the experimental movement was typically dominated by male playwrights and protagonists. Perhaps this explains why "Saxophone" remains a largely unknown piece today. It is clear the work was ahead of its time in its themes of searching for self-knowledge from a feminist perspective.
Like Treadwell, the main character in "Saxophone" is a woman. Lily Laird (Karron Graves) is trapped in a loveless marriage to Gilly (Barney O'Hanlon.) As trends in the United States shift from Victorian stoicism to sexual revolution after the World War I, Lily and Gilly's relationship falls apart. Lily begins to navigate the exciting, but often treacherous, waters of sexual experimentation, and seeks inspiration from literature and travel. All the while, her husband remains at home, clueless and waiting for Lily's return.
In this production of "Saxophone," the performances are uneven, ranging from caricature (O'Hanlon) to sophisticated and realistic (Graves). Millie, Lily's best friend (Makela Spielman) lends effective comic relief to the script, coming off as a yuppie who wouldn't be out of place in the '80s.
Music is ever present, at first somber and orchestral, and later as Lily embarks on her self-discovery, becomes the lively jazz music that gives the play its name. The Arena Stage's main theater is in the round, and another constant element is the ring of characters sitting at tables as though in a cabaret, watching the action unfold between Lily and Gilly like the judging eyes of society.
The costumes are vibrant and authentic to the era, a sharp contrast to the sparse set of scattered tables and chairs around the center of the stage. The space in the middle provides room for lively dance sequences, during which much is revealed about each character.
Director Anne Bogart is known for her probing, interpretive renderings of plays, but at times her modern twists, like some of the dances, are jarring and pull the viewer out of the antic 1920s mood. A dream sequence in which several men menace Lily to pulsating, echoing music is downright bizarre. As "Saxophone" shifts abruptly from a comedy in which newlyweds awkwardly approach the consummation of their relationship, to a drama in which Lily appears close to madness, one wonders how they are supposed to react to the performances and the story.
The ending, too, seems sudden. We are left with many compelling questions, still relevant to the lives of many women today, in the context of "Intimations for Saxophone" they provide for an unsatisfying finish.
Arena Stage offers a College Night when tickets are $10 with a student ID. College Night for "Intimations for Saxophone" is Feb. 18. Visit www.arenastage.org for more information.By ALANNA SCHUBACH
Eagle Staff Writer
Sophie Treadwell's "Intimations for Saxophone" debuted at Arena Stage on Thursday, as part of the theater's lost-and-found series in which it produces the forgotten plays of American writers.
Treadwell, who wrote the play in her thirties, was a unique figure in American Expressionism because she was a woman, and the experimental movement was typically dominated by male playwrights and protagonists. Perhaps this explains why "Saxophone" remains a largely unknown piece today. It is clear the work was ahead of its time in its themes of searching for self-knowledge from a feminist perspective.
Like Treadwell, the main character in "Saxophone" is a woman. Lily Laird (Karron Graves) is trapped in a loveless marriage to Gilly (Barney O'Hanlon.) As trends in the United States shift from Victorian stoicism to sexual revolution after the World War I, Lily and Gilly's relationship falls apart. Lily begins to navigate the exciting, but often treacherous, waters of sexual experimentation, and seeks inspiration from literature and travel. All the while, her husband remains at home, clueless and waiting for Lily's return.
In this production of "Saxophone," the performances are uneven, ranging from caricature (O'Hanlon) to sophisticated and realistic (Graves). Millie, Lily's best friend (Makela Spielman) lends effective comic relief to the script, coming off as a yuppie who wouldn't be out of place in the '80s.
Music is ever present, at first somber and orchestral, and later as Lily embarks on her self-discovery, becomes the lively jazz music that gives the play its name. The Arena Stage's main theater is in the round, and another constant element is the ring of characters sitting at tables as though in a cabaret, watching the action unfold between Lily and Gilly like the judging eyes of society.
The costumes are vibrant and authentic to the era, a sharp contrast to the sparse set of scattered tables and chairs around the center of the stage. The space in the middle provides room for lively dance sequences, during which much is revealed about each character.
Director Anne Bogart is known for her probing, interpretive renderings of plays, but at times her modern twists, like some of the dances, are jarring and pull the viewer out of the antic 1920s mood. A dream sequence in which several men menace Lily to pulsating, echoing music is downright bizarre. As "Saxophone" shifts abruptly from a comedy in which newlyweds awkwardly approach the consummation of their relationship, to a drama in which Lily appears close to madness, one wonders how they are supposed to react to the performances and the story.
The ending, too, seems sudden. We are left with many compelling questions, still relevant to the lives of many women today, in the context of "Intimations for Saxophone" they provide for an unsatisfying finish.
Arena Stage offers a College Night when tickets are $10 with a student ID. College Night for "Intimations for Saxophone" is Feb. 18. Visit www.arenastage.org for more information.
