Principles. A man has to have principles. He has to stand up for what is right. He has to be, if you will forgive a dip into the Dr. Phil playbook, a moral leader in his family.
Terrence Rattigan's "The Winslow Boy", first produced in 1946, takes place in 1912-14, and at first we feel as though it's Downton Abbey set in South Kensington. A Nice family, a Nice home, that sort of thing - not unlike, in fact, the world in which Rattigan grew up. It's nice, that is, until the youngest Winslow is expelled from a Royal Navy College's junior division for taking a postal money order from another student, and cashing it. It would be worth in today's American currency, four or five dollars. And the lad is 14 years old.
Father, a banker, believes the boy's protestations of innocense, and is further incensed by the fact that this was accomplished, hearing and all, without notifying the family. It's the principle of the thing. But what's to be done? One cannot, after all, sue the Crown. But maybe there's a way, complicated as it might be. The father is determined to follow it through, damn the consequences, although he is, in that British way, very polite and understated in expressing those sentiments.
Jeff Hayenga is the father, less fearsome than his reputation in the family, although we have only their word for it that Ronnie, the expelled one, is the favorite child; there's little in the chemistry between father and Jay Stalder's Ronnie to prove it. The two older children are Dickie, Hunter Canning, having a merry time at Oxford, and Grace, a political progressive who's active in the suffrage movement, played by Carol Schultz. The struggle to clear the family name goes on, aided by Sir Robert Morton, the high-powered attorney who exudes power, carried off well by Jay Stratton.
But the cost, on many levels, is immense. Dickie can't return to Oxford, but must get a job. Grace's fiancee is becoming rather wobbly in his commitment. Only mother, the serene and charming Kathleen Wise, hasn't wavered - yet.
There are some big issues addressed here, to be sure. And yet, the play doesn't seem to have aged well, and it's not just because of the outdated caricature of the "lady reporter" - that's offset by the respectful treatment of the suffragette sister. Some of the necessary exposition is perhaps muffled - early on, in particular, the dialogue was hard to hear. There's a lack of heft in the whole thing that leaves one wanting.
It's a technically beautiful show. The scenic designer, John Ezell, gives us a lovely room. Dorothy Marshall Englis' costumes evovke hints of Downton Abbey. And Rob Denton's lights enhance the moods. But perhaps it's just because everyone is so well-mannered that it lacks passion.
The Winslow Boy
through March 8
Repertory Theatare of St. Louis
Regarding your review of The Winslow Boy. You must not have watched the same play I did. I thought it was brilliantly acted, visually stunning, and thoroughly enjoyable. It may have left you wanting, but it left me wanting more!
Posted by: Bill | February 17, 2015 at 01:10 PM