Well-Behaved Women
Reviewed by V Cate
Ophelia’s Jump
Through March 12
The title of the play evokes the oft-used quote, “Well-behaved women seldom make history” (Laurel Thatcher Ulrich), reminding us that the traditional femme roles of reservation, subservience, and amenability rarely ensure remembrance. Of course, this carries the implication that the gendered act of conforming to patriarchal expectations is a weakness in women, ignoring the evidence that acting outside of constricted societal roles doesn’t elicit serious consequences. Women have paid, and continue to pay, with their reputations, their social standing, lack of opportunity at work, unfair burden of responsibility at home, disparate wages, challenges in receiving medical care, and violence.
In a Billboard interview, writer Carmel Dean amends the phrase, preferring, “Well- behaved women are not what they seem”.
Dean’s song cycle gives voice to notable women throughout history and mythology. A small ensemble of five actresses perform more than a dozen songs, musically monologuing through their experiences. While touching at times on women from other parts of the world, the work feels very American-centric, with songs about the Statue of Liberty, women of the Supreme Court, and even Neil Armstrong’s wife. And by opening the show with a song about Eve (as in Eve of Original Sin) and giving focus to Mary Magdalene, the show’s voice is more Judeo-Christian than universal. (Mary Magdalene’s song is a highlight of the show, as it is one of the only songs in the repertoire with a unique attitude and musicality.)
Well-Behaved Women is composer Dean’s first foray into writing song lyrics. Her sound is totally contemporary in terms of musical theater, but the words themselves are simple, lacking charge or poetry. And while most of Dean’s songs feel more like a book report or journal entry than anything particularly revelatory, the ensemble of women represented is a good inspiration for looking into feminist figures in general. Beatrice Casagran’s direction is sparse — this show’s original production had singers perform into a microphone with a music stand — so most of the songs are performed in relative stillness. The most interesting moments work in tandem with Sheila Malone’s imaginative projection design.
Overall, the show is not groundbreaking, but perhaps a production devoted to women taking the stage is enough of a noble purpose. Ophelia’s Jump has placed an emphasis on amplification of diverse voices, and the sweet creative team of Well-Behaved Women has crafted a celebration of feminine figures that warrants an evening of theater.
Ophelia’s Jump Mainstage, 2009 Porterfield Way, Ste. H, Upland; Thurs., Feb. 23 only, 7:30 pm; Fri., 8 pm; Sat., 3 pm & 8 pm (exception: Sat., Mar. 4, 2:30 pm matinée); Sun., 4 pm; through Mar. 12. (909) 734-6565 or www.opheliasjump.org. Running time: 80 minutes with one intermission.
