Natalie Venetia Belcon and Jonathan Rayson in THE FIG LEAVES ARE FALLING. Photo by Dixie Sheridan.
The Fig Leaves Are Falling by Allan Sherman first opened on Broadway on January 2, 1969. It received such scathing reviews (Clive Barnes of the “New York Times” wrote that “,,,there is nothing much wrong with [the play]…that a new book, new music, new lyrics, new settings, new direction, new choreography and a partially new cast would not possibly put right”) that it closed after only four performances.
In that original production, Barry Nelson played the role of Harry Stone, a 44-year-old
senior executive at a greeting card company, living in Larchmont with his
devoted wife, Lillian, and their two children.
Lillian, then played by Dorothy Louden (who received a Tony Award
nomination for her performance, notwithstanding the play’s extremely short
run), was the perfect wife, mother and homemaker. Nice house, two cars, a live-in maid, the
perfect life. But this was the late
1960s, a time of social, political and sexual unrest (think Vietnam, the pill,
sit-ins and love-ins) and so it was inevitable that Harry’s world would be
rocked when he was confronted by his more sexually-liberated 24-year-old
secretary, Pookie Chapman (then played by Jenny O’Hara).
The
play is now being revived off-off-Broadway at the Connelly Theatre by Unsung
Musicals and, considering its ignominious history, the question is not “Why did
it take so long?” but, rather, “Why would anyone ever bother to revive it at
all?” Well, the answer is simply that
that is what Unsung Musicals does: it has taken as its mission “the restoration
and presentation of obscure but artistically sound works” and its artistic
director, Ben West, saw enough that he considered worthwhile in the play to
justify its revival.
But
what is now appearing at the Connelly isn’t really a revival in the truest
sense. In order to make his new
production work, West revised it extensively, eliminating much of its
socio-political commentary, deleting some songs and adding others, patching
together scenes from three different drafts of the original play, eliminating
sub-plots, and focusing tightly on the main theme – the choice that Harry must
make between Lillian and Pookie (here re-named Jenny in honor of the actress
who played her in the original production). What he
ended up with then was, for better or worse, a far cry from what originally
appeared on Broadway 44 years ago.
But
is it better or worse? Since I never saw
the original play on Broadway nearly a half century ago, I’m not really in a
position to say but I suspect that West’s new version may be more entertaining
on balance than its predecessor was. The
1969 production did set a very low bar and I don’t think that Clive Barnes’
caustic comments on that production would apply to what is now playing at the
Connelly. The current show, while by no
means exceptional, is cheerfully engaging; it has its amusing moments; and its
choreography is energetic and enthusiastic.
But
there is a tradeoff. So much from the
original production has been excised that the current production simply re-tells
the oft-told tale of one man’s mid-life crisis, a story that is as old as
recorded history and that is not at all unique to the period in which the play
is set. As Harry puts it:
“Well, when you get
right down to it, I’ve gotta make a choice: my wife or this girl. The thing is, I like my wife. Well you know Lillian. We’ve been married twenty years. She’s kept her figure, she’s kept the
ashtrays clean, gotten the laundry done, took care of the kids, done social
work, read all the latest books – all that stuff. But…I like the girl too. She’s 24…."
And
that has nothing at all to do with the sexual revolution of the times (the
falling of the fig leaves, if you will); it is simply the story of a man’s
mid-life crisis – as likely to occur to 1929 or 2009 as in 1969. And there really is nothing special about this
particular individual’s mid-life crisis or how it plays out. We’ve seen and heard it all before, many
times over (and often with much more interesting characters and plot
structures).
In
the current production, Harry is played with considerable control by Jonathan
Rayson, struggling to restrain his emotions in the face of Jenny’s advances.. Lillian is played by Natalie Venetia Belcon,
whose unquestioning and loving acceptance of Harry’s disturbing behavior is
most endearing but requires some suspension of disbelief. And a similar suspension of disbelief is
required in reacting to Morgan Weed’s perky portrayal of Jenny (formerly
Pookie) who seamlessly evolves from an innocent girl threatening to quit her
job over her boss’s unwanted advances into a flirtatious seductress who upends
Harry’s life.
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