It might seem predictable with the astounding advance for "Our Town" with Paul Newman which opens in NYC later this season that regional productions would spring up. However, this Boston Theatre Works offering was planned to serve their continuing school series before the benefit in Connecticut turned into a Broadway phenom. Of course, Thornton Wilder's 1938 classic--his second Pulitzer prize--has never left the American stage. The play's been a highschool and community theatre staple, unlike the less-revived "Time of Your Life" which had a rare run at Trinity Rep in Providence last month.
Perhaps that's why Boston Theatre Works Artistic Director Jason Southerland et al. felt the unfortunate urge to somehow update their production. And chose to do so in rather superficial ways. At least most of their choices don't interfere with the play's basic strengths. Having IRNE award winner Bobbie Steinbach play the Stage Manager was probably the best "new" idea. She brings a wry feminine viewpoint to the role and makes its "folksiness" part of the artifice. Dressing her in nondescript black lounge wear is part of the worst decision; the attempt to costume the cast across the years between the beginning of the century and now. Molly Trainer is credited with costume design and nothing is totally out of place, but the concept just doesn't work. The play's point about the past turning into the future before you know it works better from a solid reference point. There's no need to update universal themes, particularly for the sake of novelty.
The set has similar problems. The use of shadow screens and a mylar mirror at the very back has potential. However, the clutter of modernistic scene elements, including cuckoo clocks hanging down left over what will be the graveyard, an openwork revolving door through which the cast first enters and which leads to the graves at the end, and lights under the back platform which give a curious nightclub feel at times, never come together to form a set. Robert Pyzocha may be trying to provide a unique environment for the play, but the result feels intrusive. The point of working on a bare stage was to invoke memory and imagination. Adding clutter suggests that the audience is somehow incapable of doing so.
The cast is acceptable, but not exceptional. Various community productions have done as well. Lindsay Joy, last seen at this location in "Under Milk Wood" is a less ethereal Emily Webb than usual, but is quite believable as she moves from teenager to bride to died in childbirth.. Scott Adams is best as George Gibbs when younger, he doesn't seem to age at all. Elizabeth A. Wightman who stepped in as Mrs. Webb for the first part of the run is strong as usual. James Bodge, as Emily's father, the editor of the local paper has a deft touch. Sharon Mason as Mrs. Gibbs is strongest when explaining the afterlife to Emily;John Furse as Dr. Gibbs makes a good father figure to George in the first act. These six actors form a solid core for an effective ensemble capable of playing the show straight through. Since the production is designed for school groups, there are no intermissions.
The sound effects, starting with old records played on a handcranked Victrola, were marginally effective, except for tossing in "Love and Marriage" from the late '50s TV production of the play where Frank Sinatra played the Stage Manager. It was intrusive then; it's still inappropriate. Omitting the hymn, "Blest Be the Tie that Binds", which is one of the central themes of the play was a bigger mistake. David Remedious's sound design is just not up to par.
But the quality of Wilder's original script comes through. Most of the innovations, like excessively repitive activities, are easily ignored and shouldn't disturb the school audiences. Lack of consistency in production concept and unfortunate difficultys in seeing the action from any even row given the current seating set up may. Grover's Corners is generally worth a visit every decade or so, and the tickets here aren't outrageously priced.