Review: Artistic Home’s “Days to Come”

  The Artistic Home Shows Weaknesses, Not Strengths, of Days To Come

 

DTC02_Firth after fight

The Artistic Home presents:

Days To Come

by Lillian Hellman
directed by Kathy Scambiatterra
thru November 29th (buy tickets)

Reviewed by Paige Listerud

If you believe, as the Greeks did, that man is at the mercy of the gods, then you write tragedy. The end is inevitable from the beginning. But if you believe that man can solve his own problems and is at nobody’s mercy, then you will probably write melodrama.         — Lillian Hellman

DTC06_Wilke and Easter Is it possible to be too reverential while executing a particular work? True, Days To Come was written by the larger-than-life Lillian Hellman. In it, tragic things happen, lives are irreparably damaged, and the play is full of social import. All the same it is still a melodrama, not a tragedy. One’s impression upon seeing it onstage now at The Artistic Home is that director Kathy Scambiatterra has seriously mistaken one for the other.

This is not to write off Days To Come as a lesser Hellman work and I hope no one reads my use of “melodrama” in any pejorative way. Melodrama is an extremely versatile, complex, and enduring genre. One for which, as the above quotation shows, Hellman had immense respect. Most of all, more often than not, melodrama is intensely personal. In the end, Days To Come is about the very personal costs of falling for fast, slipshod, and cutthroat solutions to both personal and larger social problems.

Artistic Home’s production succeeds most when it fulfills the melodramatic mode of the play—as it does in those scenes centering on the strikebreakers/thugs hired by the Rodman family to disrupt the ongoing strike at their factory. Scenes where Mossie (Eustace Allen) and Joe (Jeremy Glickstein) play cards while they “guard” the Rodman house build with crackling intensity; while Wilke (Gerard Jamroz) their boss oozes criminality out of every pore. Jamroz absolutely shines in this role—coy, sleazy, and unctuous when he needs to be; pouring on coarse brutality when it serves. His performance almost steals the play.

In fact, Hellman’s criminals seem to come from the pen of her lifetime partner, Dashiell Hammet. But then, they had been together for five years by the time Days To Come premiered.

DTC04_Julie and Henry DTC03_Julie and Andy

In stark contrast, Scambiaterra chooses to keep the rest of her cast buttoned down until the final scene. Sadly, what goes missing is a sense of history between all characters and a strong ensemble sensibility between cast members. Plus, direction during the first act often seems as stilted as some of the dialogue; the actors often look like chess pieces moved around upon a board than people inhabiting a living room.

Patrick Raynor as Tom Firth, the working class best friend of Andrew Rodman (Joe McCauley), brings refreshing intensity upon his entrance into the family hothouse environment. Tim Patrick Miller, as the labor organizer Jim Whalen, brings a nice touch of Humphrey Bogart toughness to his role, even if some lines bring him dangerously close to sounding like a pompous white knight.

Once the strike devolves into violence, Scambiaterra’s direction finally unleashes the cast in a big family blow-up, a dramatic impact lessened by the lack of any reasonable foreshadowing. Still, the biggest, most enjoyable scene-stealer is Justine Serino as Cora, venting her jealous rage at philandering sister-in-law Julie (Leavey Ballou).

It’s here Joe McCauley’s role as the family scion, Andrew Rodman, finally comes into its own—and it’s a palpable relief when it does. His character’s trajectory veers the closest to tragedy. What is not clear is whether, at the start of the play, he realized that he could lose the town that he loved the most through his own passivity. If Hellman’s writing does not make that clear, then the actor must make that choice—as if the whole world of this play depends upon it.

Rating: ★★½

 

DTC01_Whalen waiting for pick-up DTC05_Julie and Whalen

 

Creative Team

Author:  Lillian Hellman 
Director: Kathy Scambiatterra 
Cast: Eustace Allen, Elizabeth Argus, Leavey Ballou, Jeremy Glickstein, Gerard Jamroz, Evelyn Kelly, Joe Mack , Joe McCauley, Tim Patrick Miller, Patrick Raynor, Justine Serino
Lighting: Francesca Bourgault 
Sound:  Adam Smith
Set Design: Joseph Riley
Costumes: Ellen Siedel
Stage Manager: John Mossman

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