Arena’s ‘Legacy of Light’ is a must-see

Those that want a model of how to bring a deep message — in this case balancing personal relationships with professional aspirations — without making the work too preachy, pompous, political or just plain dull need to study this gem directed by Arena’s Artistic Director Molly Smith.

To be honest, when Voltaire erupted onto the stage in the first part of Scene I, speaking English in his charmingly French-infused aristocratic tone, I had my doubts this play would work.

It’s not that Stephen Schnetzer in that role wasn’t charming and enticing as he swaggered about the stage after finding his intellectually brilliant lover ƒmilie du Ch‰telet (as convincingly played by the regal and lovely Lise Bruneau) in a dalliance with a much younger man the Marquis du Ch‰telet (as convincingly played by David Covington who also had the emotionally challenging role of Lewis, which he handled with aplomb — no small feat considering the rapid costume/personality changes the roles required).

I just didn’t see how the storyline could move into contemporary relevance without taking some major leaps or becoming overly cheesy.

Boy, was I wrong.

Not only does Legacy of Light mesh the challenges women — and to a degree men — face while balancing their often very different personal and professional lives in 2009, it gently weaves the story around Voltaire’s time — as well as life and works — in such a way that the story has meanings on several spheres.

I could rave on about the acting but suffice to say that it was all brilliant, heartfelt, and genuine.

What was especially heartening was watching young Lindsey Kyler take on two very challenging roles — Pauline and Millie — and make them not only her own but two separate, genuine people. In some recent area performances, young actors have seemed somewhat self conscious in vetting their characters’ feelings on stage; that certainly was not the case with Kyler who wrung every ounce of intensity and humanity out of these two characters.

Set designer Marjorie Bradley Kellogg and her team add to the magic by creating a sparse set that serves a host of purposes in two extremely different centuries. Although some might be tempted to add pieces that could only be relevant in one century, the timeless feel of the furnishings highlighted the characters’ universal needs and desires.

I’d be remiss if I didn’t also send kudos to Costume Designer Linda Cho. It’s refreshing to see period costumes that take on the rich elegance and minute detailing of garb of that time.

Bravo, Arena.