All-female cast experiments with ‘Boston Marriage’

Critics often complained that playwright David Mamet, the king of theatrical testosterone (“Glengarry, Glen Ross,” “American Buffalo”), never wrote any good parts for women.

In 1999, Mamet responded by concocting an uncharacteristic period piece called “Boston Marriage.”  An opus that plays a bit like a caustic reworking of an Oscar Wilde comedy, “Boston Marriage” features only three characters, all of them women.

A unique and engaging Kansas City Actors Theatre production of “Boston Marriage” is being staged in a second floor drawing room at the Webster House, a restored Romanesque Revival building erected in 1885.

The intimate setting, which allows for an audience of about 50 patrons, is utterly appropriate. The story takes place in the early 20th century and, as the title implies, involves two women in a relationship that is likely lesbian.

Cheryl Weaver and Cinnamon Schultz play Anna and Claire, two erudite and loquacious women who bicker about a matter that threatens their special “friendship.”

Claire has become enamored with a younger woman and wants Anna’s help to win over her new love. Anna is the mistress of a wealthy married man who provides her with ample support, so she holds the financial cards.

Anna initially tries to talk Claire out of rendezvousing with her new friend, but eventually acquiesces. A complication arises, however, that involves an opulent emerald necklace given to Anna by her affluent patron.

The play’s third character is Catherine (Rachel May Roberts), Anna’s clueless Scottish maid. Anna continually browbeats Catherine and can’t seem to remember her name or her nationality.

While concocting their manipulative schemes (and positioning themselves to outwit one another), Anna and Claire take pleasure in verbally domineering the uneducated Catherine.

Despite the setting, Mamet manages to imbue the dialogue with plenty of sexual double entendre and even gets in a few of his customary “F-bombs.”

One might wonder if this sort of banter is authentic to the period and whether these “genteel” ladies would have employed it.

He employs his patented rat-tat-tat style, but also incorporates Victorian era language and the verbosity of the well educated.

To their credit, the actresses capably tackle this difficult language and deliver credible characterizations. While all three are splendid, Roberts makes the biggest impression as the wide-eyed Scottish maid who may not be quite as naive as she initially appears.

Director Melinda McCrary makes efficient use of the limited drawing room space, staging the action in the round. Smartly, she also relies exclusively on ambient lighting. The elaborate costumes by Jon Fulton Adams also effectively add to the overall ambience. 

While Mamet’s dalliance with female characters isn’t a complete success, the KCAT production of “Boston Marriage” is a welcome and intriguing experiment.

“Boston Marriage” runs through Feb. 11 at the Webster House, 1644 Wyandotte St., Kansas City, Mo. For tickets, visit www.kcactors.org.

THEATER NOTES

The Mystery Train dinner     theater rolls into its sixth season with a new interactive whodunit.

“Who’s In First” stars Cassandra Whitney, Eric Van Horn and Lucas Villanueva in a murder mystery set in 1914 when railroad      barons were in charge and Union Station was staging its grand opening.

Performances will take place at the Prime Rib Grill by the Hereford House, 100 E. 20th St., Kansas City, Mo., and at Californo’s Westport, 4124 Pennsylvania, Kansas City, Mo. For tickets, call (816) 813-9654 or visit www.kcmysterytrain.com.

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