Fire in a Dark House

Reviewed by Iris Mann
Whitefire Theatre
Through November 15

Co-written by Mona Z. Smith and Traci Mariano, Fire in a Dark House deals with discrimination against German immigrants after the United States entered World War I. The 25-year-old play was inspired by Smith’s family history (both writers are of German-American ancestry). The current production, a reworked version, marks the 100^th anniversary of the World War I armistice.

At the time the play is set, people of German heritage were suspected of having divided loyalties or even of being traitors. President Woodrow Wilson spoke contemptuously of “hyphenated Americans,” while anti-German feeling sometimes escalated to violence and the curtailing of civil rights — although the persecution never quite reached the level of anti-Japanese activity during World War II, which culminated with Japanese-Americans being interned in camps. Press notes point out that a similar anti-immigrant bias can be seen as relevant today.

The story is set in a Midwestern town during 1918. Carl Roebling (Andrew J. Langton) is a widowed farmer who has come from Germany to make a new life in America. Since the outbreak of the war, he has found himself at odds with Simon Lick (Paul McCrillis), a newspaper publisher and one of the town’s most influential citizens, who has become increasingly nationalistic and distrustful of German immigrants. Lick and others are whipping up a certain hysteria amongst the townspeople, directed against those of German heritage. Lick insists that Roebling prove his patriotism by sending his 19-year-old son Henry (Sanford Reed) to war, or by buying Liberty Bonds at a rally he has organized. Roebling considers himself a loyal American, but he resists Lick, unwilling to have his son fighting and possibly killing their German relatives. Meanwhile, Lick is also pressuring his own son James (Aaron Stevenson) to become a soldier. Complicating matters is a forbidden romance between James and Roebling’s daughter, Rose (Augusta Mariano).

In terms of content, the play has much to offer — it’s a smooth interweaving of patriotism, women’s rights, ethnic identity and an ill-fated romance. And the playwrights have embellished their story with lovely poetic elements; for example, one of the “star-crossed” lovers in the scenario frequently quotes Shakespeare. Also, there’s a certain dreamlike quality to the imaginings and memories of the lovers, enacted onstage.

But the beauty and power of this scenario are weakened by uneven performances and direction. While no director is listed, at the opening night performance Smith did indicate that Mariano had taken the lead in helming the piece. Mariano’s physical staging is skillful; however, some of the acting is superficial. In many instances, emotions are suggested, but don’t emanate from a deep core. As Rose, Augusta Mariano hasn’t sufficiently developed her character’s pain and longing to escape the burden of being the family caretaker; Stevenson has yet to plumb the depths of James’ conflict between the desire to run away with Rose and the wish to make his father proud by enlisting.

Also, there is little genuine chemistry between the two young lovers. In addition, both actors fail to project during their quieter moments, so that the spectator misses some important dialogue.

McCrillis, who is properly pompous and self-righteous, also is difficult to hear at times. And it would add dimension to his character if we could get more of a sense that he has real affection for his son.

As the German immigrant father, Langton is, by turns, believably guarded, put-upon, adamant and proud, with a hint of insecurity. But he too occasionally becomes inaudible and needs to master his lines. On opening night, he seemed to be struggling with some of his speeches.

Among the more fully realized performances is that of Tallula Henderson as Roebling’s 12-year-old, developmentally challenged daughter, Willie, who is given to setting fires. Henderson acquits herself admirably in a demanding role, doing totally committed and focused work. Reed also delivers a full-bodied and ever-present portrayal of a youth who wants to demonstrate his patriotism by fighting for America.

As Mary, the oldest Roebling daughter, Margy Love gives the strongest performance. Mary returns home pregnant. having left her brutish husband, an Irishman now serving in the military. She is an ardent suffragette, and Love communicates the woman’s passion with fervor and clarity.

Fire in a Dark House is a well-crafted play that could attain theatrical importance with stronger, deeper and more incisive execution.

Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks; Thurs., 8:00 p.m.; through Nov. 15. (800) 838-3006 or fireinadarkhouse.bpt.me. Running time: 90 minutes with no intermission.