Abbie (Carla Gugino) and Ephraim (Brian Dennehy) in Eugene�¢ï¿½ï¿½s O�¢ï¿½ï¿½Neill�¢ï¿½ï¿½s tragic story, �¢ï¿½ï¿½Desire Under the Elms.�¢ï¿½ï¿½ (Liz Lauren)
Against the harsh backdrop of large, cold, gray stones enwrapped by thick ropes, hanging from overhead, and others placed judiciously about the stage, a passionate story is to be played out.
Old man Ephraim Cabot (Brian Dennehy) has taken a young, third wife Abbie (Carla Gugino), and has chosen to ignore the possible rights to his desirable farm. The farm is currently in the hands of his sons Simeon (Daniel Stewart Sherman) and Peter (Boris McGiver) by his first wife, and Eben (Pablo Schreiber) by his second, soft wife, who died due to the rigors of farm life and Ephraim’s abuse.
But at the play’s opening, the new marriage is not a known factor. Sim and Peter, who want to go west to gold country, discuss their father’s surprising two month absence. Perhaps he’s dead, they remark, hopefully.
Eben joins his brothers and insists on his claim to the farm. He persuades them, with the aid of money hidden by Ephraim, to go west and leave Eben to gather the spoils.
With the entrance of Ephraim and his bride Abbie, the battle lines are drawn. Here is competition for Eben. Abbie obviously covets her newfound territory. It is her “hum,” she announces with satisfaction, and intently plants her feet.
There follows the heart of the play, rife with sexual lust and lust for the land. Abbie and Eben are drawn to each other physically, but Eben denies his feelings, for he knows that Abbie will stop at nothing to get the farm for her own and he refuses to become her pawn. It is a battle of wills, and the stronger will win.
Ephraim is blind to the mutual attraction of the young couple. But he is ever on guard regarding his ownership of the farm. “You can’t take it with you,” Abbie taunts.
Finally, it is Abbie who conceives of a plan that will ensure her right to the land, and at the same time, result in mutual pleasure for herself and Eben. The plan, successful at first, ultimately goes awry and catapults “Desire Under the Elms” into the realm of elemental tragic proportions.
The production whips along at breakneck speed. Director Falls has seen fit to delete a community party scene, which, though it would have pointed out Ephraim’s insensitivity to the relationship of the young couple, and the neighbors’ awareness of it, would have slowed the play’s impetus.
Performances embody a powerful unity. Carla Gugino’s Abbie is both sensitive and enticing, and the actress moves beautifully. Brian Dennehy’s Ephraim, who loves the cows of his farm, sometimes displays the clueless insensitivity of these beasts, but offsets this stance with his shrewd slyness. Pablo Schreiber is a magnetic figure as Eben, but I wonder at his unusual vocal delivery, which I can only describe as “stylized.” Although his delivery is different from that of the other actors, so strong is the cohesiveness of the production that it did not distract.
Daniel Stewart Sherman as Sim and Boris McGiver as his brother Peter make a strong impression, particularly in their opening scene, which sets the stage for the convoluted emotions and events that are to follow.
Set designer Walt Spangler, in addition to the aforementioned set pieces, has come up with some ingenious solutions to the limited stage size. Lighting by Michael Philippi enhances the set. Ana Kuzmanic’s costumes are appropriately unobtrusive, while Richard Woodbury’s original music and sound design enhance the entire project.
This is a production to be savored as it is a powerful example of the straight dramatic theater that is becoming so rare these days on Broadway.
Desire Under the Elms
St. James Theatre
246 West 44 Street
Tickets: (212) 239-6200 or www.telecharge.com
Running time: 100 minutes
Closes: July 5
Diana Barth writes and publishes “New Millennium,” an arts newsletter. She also reviews for www.TotalTheater.com.
