At one point in the Olney Theatre Center’s current production, a character says of his future father-in-law: “… this is the man who objected to my marrying his daughter on the ground that a marriage between a member of the great and good middle class with one of the vicious and corrupt aristocracy would be a misalliance.”
Thus the title of George Bernard Shaw’s comedy, “Misalliance.” Yet this brilliant work of social criticism and comment is not simply about marriage between different classes. It also takes on politics, fidelity, imperialism, capitalism, reading, power, sex and food.
“Misalliance” is set on May 31, 1909, in the grand English countryside estate of the wealthy John Tarleton, who has made his millions through the unromantic but lucrative business of manufacturing underwear. He has taken his son, John Tarleton Jr. (Joel Reuben Ganz) into the business, as well as his daughter’s fiance, Bentley Summerhays (Matthew McGloin).
At the beginning of the play Bentley appears, trying to engage John Jr. in a discussion, but John, who is large and strong, has nothing but contempt for Bentley, who is weak and small. Bentley is a tricky role, as the character has to be intelligent, although a coward; McGloin nicely plays up the cowardice. Ganz is effective as the resentful, hotheaded John. As they argue, John’s mother, Mrs. Tarleton (Anne Stone) and his fiancee, Hypatia (Patricia Hurley), arrive and spirit Bentley away.
Bentley’s father, Lord Summerhays (Dudley Knight), arrives and helps John work through his seething anger, relating his own problems with Bentley. Knight is commanding as the calm center of a familial storm and his discussion with John Jr. sets the stage for one of the play’s major topics — how parents and children learn to tolerate each other.
As directed by John Going, the Olney production picks up energy with the arrival of Tarleton Sr. (Joe Vincent), a man who cannot fail financially, a philanthropist and avid reader. Vincent handles the demanding role easily, strutting around his house, handing out advice to all.
James Wolk’s set is a dream of new wealth: the conservatory’s great glassed arches are flanked by palm trees, the room stuffed with orchids, potted plants, wicker furniture, bird cages and books. Liz Covey’s costumes are beautifully textured Edwardian outfits, white suits for the men, white and pink dresses for the women.
Shaw wrote to make people think, not simply be entertained. Fortunately, all the debate Shaw intended for his “Misalliance” (1909) is in the Olney production, which is as fresh and topical as if it were written last week.
