Diana of Dobson’s
Reviewed by Iris Mann
Antaeus Theatre Company
Through June 3
First presented in 1908, this British play by early feminist Cicely Hamilton tackles weighty themes that are still relevant today. Billed as a romantic comedy, it nonetheless comments on women’s rights, class warfare, the plight of the exploited worker, extreme financial inequality and homelessness, among other issues.
Hamilton (1872-1952), who never married, was an actress, writer, journalist, political activist and suffragette who penned the words to the Suffragette Anthem, The March of the Women. She argued that women should be appreciated for their talents rather than their sex appeal; that they should have opportunities in life in addition to marriage and motherhood; that they should receive equal pay to men; and that the roles written for them in the theater should be more three-dimensional.
The playwright was a friend of George Bernard Shaw, and there is a hint of his influence in this vehicle. Hamilton’s social commentary also calls to mind the work of Dickens, although the two authors wrote in very different veins.
In Edwardian England, where the play is set, there was a rigid class system under which the “ornamental” or “leisure” class, together with successful self-made men, enjoyed a luxurious lifestyle supported by the underpaid, working, or “useful,” class.
Directed by Casey Stangl at Antaeus Theatre Company, Diana of Dobson’s is about the titular 20-something daughter (Abigail Marks) of a poor country doctor, who find herself without means when her father dies and must go to work to support herself.
As the play begins, she is a shop girl at Dobson’s department store. The story depicts the untenable conditions endured by the young women who work there — 14-hour days, starvation wages, innumerable rules that bring a fine if disobeyed, and a system whereby the girls live on the premises in a dorm-like setting. The whole arrangement is akin to indenture.
Suddenly Diana learns that an unknown relative has left her 300 pounds. Rather than investing it and earning a meager interest, she decides to blow it all for a few weeks at a fashionable Swiss mountain resort. Once there, she passes herself off as a wealthy widow, and enjoys the attention of the rich Mrs. Cantelupe (Eve Gordon) and Mrs. Whyte-Fraser (Elyse Mirto), as well as Sir Jabez Grinley (John Apicella), a nouveau riche and newly knighted owner of a chain of dress shops. She also encounters Victor Bretherton (John Bobek); though a dullard, he’s a handsome former military man of the upper class who is taken with Diana and who could use a rich wife because of his spendthrift ways. But then, Diana’s money runs out.
Unfortunately, this is a jewel of a play not fully realized, largely due to misdirection. The material demands a lighthearted surface, resting on a foundation of realistic, spirited commentary about society’s inequities. Yet Stangl helms the proceedings with a heavy hand, and sets an unvarying pace in which the action too often verges on hysteria.
The problem is particularly evident in Marks’ performance, which is one note throughout and delivered without shading, subtlety or delicacy — qualities that are essential, given the character’s plight. Diana’s pluckiness and spunk as she upbraids the exploiters and the idle rich would be more effective if displayed in contrast to the weariness she must feel, considering the hard life she has had to live. Instead, Marks enters with a bombastic approach that never changes.
Furthermore, the romantic aspect of the play, drawn as a sort of poor man’s Cinderella story, doesn’t ring true. This is because there is no chemistry between Marks and Bobek, who nevertheless does as well as he can, given the limitations within which he has to navigate. He manages to make the bumbling ne’er do well likable and sympathetic.
Other ensemble members also have turns in which they rise above the circumstances. As Bretherton’s cunning, acquisitive aunt, Mrs. Cantelupe, Gordon achieves some humorous moments reminiscent of restoration comedy. But in doubling as Miss Pringle, the supervisor of the Dobson shop girls, she tends to go over the top; she comes across like one of the witches from Macbeth instead of a sour, bossy woman protective of her position. Mirto also communicates the snobbery and self-satisfaction that characterize upper-class people who feel they have a God-given right to their position. In her other role as a homeless old woman, Mirto projects a dignity and kindness that are touching.
Some of the evening’s best work is done by Apicella, who hits the mark as the self-made tycoon made successful on the backs of the workers he employs. Paul Stanko also does nice work as a waiter at the resort and as a constable who is sympathetic to Bretherton.
As four shop girls at Dobson’s, Kristin Ariza, Cindy Nguyen, Krystel Roche and Shannon Lee Clair are a bit too animated. In real life they would be more exhausted and oppressed after endless 14-hour days.
What does enhance the ambiance is the delightful music provided by sound designer Jeff Gardner and the charming scenic design by Nina Caussa.
As is their bent, Antaeus has double cast the production, with the exception of Marks, who plays the lead with both sets of actors. Here we are covering the “Pots” cast.
Kiki & David Gindler Performing Arts Center, 110 E. Broadway, Glendale; Thurs.-Sat., 8 p.m.; (dark May 18); Sun., 2 p.m.; Mon., 8 p.m.; through Jun. 3. (818) 506-1983 or www.Antaeus.org. Running time: two hours and 20 minutes with two intermissions.
