The Little Foxes
The story of cannibalizing relatives has become a staple of stage and screen since Lillian Hellman essayed her play, The Little Foxes, in 1939. But no other work has ever equaled the avaricious Hubbard family and no other character has portrayed such a cold-blooded viper as Regina. Despite its distinctly melodramatic overtones, Hellman’s masterpiece still can hold an audience in suspense as Pasadena Playhouse’s new production attests.
Dámaso Rodriguez has succeeded in updating the play by retaining the original time-period (1900), while recognizing that its rationale lies firmly rooted in the Great Depression. And, as many connected with the production have remarked, this story of bald-faced greed could not be more timely.
1900 marked the time that the Southern industrial infrastructure revealed irrevocable signs of decay. In the face of this, the new industrialists that made up the Hubbard family struggled to revitalize their failing business through an injection of cash acquired from a Northern investor (played by William Schmid). In order to succeed in this venture, all members of the family had to agree on the terms. Playing out this age-old conflict, Hellman developed a set of complex characters: from Regina (Kelly McGillis), her avarious brother, Benjamin (Steve Vinovich), sadistic Oscar (Marc Singer), and naive Leo (Shawn Lee), to Oscar’s ruined wife, Birdie (Julia Duffy), Regina’s husband, the sickly Horace (Geoff Pierson), and the symbol of hope for the future, Regina’s daughter Alexandra (Rachel Sondag).
Rodriguez’s actors have rewarded him by developing fiercely original interpretations of these well-worn characters; in some cases pushing the caricature, in others, playing against the norm. Vinovich’s no-nonsense approach balances the two extremes while Singer’s Oscar sometimes goes waaay over the top. Lee’s Leo creates complexity in a simply written character, and Duffy’s Birdie lets her bruised character breathe through. Kelly McGillis’ version of Regina plays just a bit off the beat, which results in a curiously affect-less woman who seems, not so much unremittingly evil, as beyond sensation. As a result, her climactic breakdown contrasts sharply.
In such a well-made, realistic play as Foxes, it is difficult to disguise the assumed racism of black servants, Addie (played by Yvette Cason) and Cal (Cleavant Derricks). However, Hellman has treated them both with such sympathy and purpose that they establish an antidote to the unremitting avarice of the other characters. Other performers–Schmid as Industrialist William Marshall; Pierson as Horace and Sondag’s Alexandra– perpetuate the tone of the production.
To upset the realism and therefore the melodramatic edge of Hellman’s play, Gary Wissmann’s piecemeal setting is at once traditional and innovative, exposing great swaths of scrim at one point, and providing a movie-set style living room to give depth to an otherwise skeletal box set. One of the visual pleasures of the evening comes when the set is silhouetted against the lighted back wall provided by Furious resident lighting designer, Dan Jenkins. Mary Vogt’s period costumes contrast with the 21st century setting to good effect. Joel Goldes made sure that the accents were uniform and unobtrusive.
The Little Foxes continues through June 28, 2009 Tuesdays through Fridays at 8:00 PM; Saturdays at 4:00 PM and 8:00 PM; Sundays at 2:00 PM and 7:00 PM (no performances Tuesday and Wednesday, April 7 & 8, with a matinee on Wednesday, April 15 at 2 PM only). Pasadena Playhouse is located at 39 S. El Molino Ave., Pasadena 91101. Tickets, $32.00 to $67.00. Phone (626) 356-7529, online: www.pasadenaplayhouse.orgor at the box office from 12 N to 6:00 PM daily.