If you’re thinking that the American Century Theater production of “Stage Door” is the same thing as the 1937 film of the same name, think again. Written in 1936 by Edna Ferber and George S. Kaufman, the original “Stage Door” is quite a different animal, with different points to make and different ways to make them. Although both works take place at a boarding house for young actresses in New York’s Upper West Side, the Ferber/Kaufman version has a definite bias toward theater and against film. It’s the 1930s and most people have no spare money, particularly those trying to survive by working on or around Broadway.
It takes a while for the cast at A.C.T. to hit its stride and for the cast of 16 young actresses to appear relaxed and ready to take on the fast-moving Ferber/Kaufman script. But as they ease into their roles, that rich, quirky and unpredictable script swirls the young women from subplot to subplot, allowing them to comment on economics, artistic tastes, men, love, money, romance and Hollywood.
| Onstage |
| “Stage Door” |
| Where: American Century Theater, Gunston Theatre Two, 2700 South Lang St., Arlington |
| When: 8 p.m. Thursday through Saturday; 2:30 p.m. Saturday and Sunday; through May 7 |
| Info: $27 to $35, 703-998-4555, americancentury.org |
The most brilliant element about the script is that it represents the determined, would-be actresses as interesting individuals, avoiding any suggestion of stereotypes. The main character, Terry, is very solidly portrayed by Kate Volpe, whose dedication to the theater makes her refuse to leave New York even when she is offered fame and fortune in Hollywood.
Another young woman chooses the opposite path. Allison Leigh Corke is convincing as the self-serving Jean, who chooses money and glory in California’s sunshine. Ashley Faye Dillard turns in a moving performance in one of the most difficult roles in the play, that of a woman escaping a tortured past. Olga (Katie Culligan) is a serious pianist, Jacqui Farkas as “Little Mary” and Sherry Berg as “Big Mary” are inseparable and the source of continuing comic relief. The wisecracking Judith is portrayed well by Shannon Liston and Jennifer Speerstra as Bernice is entertaining with her continual shimmying, seemingly preparing herself for a future in a strip club rather than the legitimate stage.
There are two important roles for men in the play: Nick Hanson is particularly strong as David Kingsley, a producer; Joshua Dick does well as Keith Burgess, a playwright.
Sarah Kendrick’s set nicely conjures up the era, with striped wallpaper, flossy drapes, Persian rugs and comfortable sofas.
“Stage Door” contains humor but has a serious component. By emphasizing the comedy so strongly and turning the negative aspects in the text into punctuation marks rather than natural elements in the flow of the script, director Marie Sproul misses the essence of the play, opting to produce a pretty tribute to Depression-era theatermania instead.
