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    ‘Partnership’ Review: A Lost Tale of Ambition That Resonates

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    The Mint Theater revives Elizabeth Baker’s charming 1917 comedy, which offers a gentle reminder about work-life balance.Find a job that you love and you’ll work every day of your life. So warns “Partnership,” the third Elizabeth Baker play to be staged by the Mint Theater Company, which has long nurtured the works of forgotten playwrights. Baker’s play premiered in 1917 in London, but the way it tackles the issue of work-life balance seems to speak more to the Great Resignation than to the Great War.The owner of a successful boutique in the south of England, Kate (Sara Haider) is focused on the needs of her distinguished clients. When George Pillatt (Gene Gillette), a potential rival, instead proposes a merger, marriage is part of the deal. The union, Kate understands, would be purely professional.As another character remarks, in one of the play’s most impressively undated lines, “Men are a lot, aren’t they?”Kate takes more of a shine to Pillatt’s companion Lawrence Fawcett (Joshua Echebiri), a gadabout investor with mud on his boots and a glint in his eye. Fawcett inspires Kate to contemplate a new way of life, including the exquisite novelty of a day off. In the show’s breeziest scene, the pair behold the Downs, an expanse of land and sky expressed in a breathtaking backdrop: The characters effectively step into a landscape painting (adapted from an artwork by James Hart Dyke) within the gilded frame provided by the scenic designer Alexander Woodward. It’s a testament to the production that it conjures the sense of a shimmering vista in a tiny theater.If the director Jackson Grace Gay tries a little too hard to coax out new laughs, the cast handles Baker’s gentle comedy with evident affection. Echebiri’s Fawcett comes alive in his natural habitat, while Gillette’s Pillatt has the constrained movements of one who thinks a leisurely walk is a waste of time. As Kate’s friend and associate Maisie, Olivia Gilliatt is having nearly as much fun as the costume designer (Kindall Almond) is having dressing her. Her ready energy and comical, gale force yawp could command a larger theater.Written during the height of the women’s suffrage movement in the United States, this English playwright’s portrait of a driven businesswoman — two driven businesswomen, actually — feels boldly up-to-date. Refreshingly, by contrast, it treats some of the male characters as more or less incidental.The suggestion of farce never materializes, but there is class critique in the play’s portrayal of characters’ couture concerns and their endless talking shop.The plot itself — Kate’s transformation from workaholic to not-so-quiet quitter — barely rattles a teacup. But “Partnership” charms regardless, offering a gentle reminder about not letting work overtake your life. Some notions should never fall out of fashion.PartnershipThrough Nov. 12 at Theater Row, Manhattan; bfany.org. Running time: 2 hours 20 minutes. More

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      ‘Becomes a Woman’ Review: A Girl Gets Wise in Brooklyn

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      A young woman works to free herself from the expectations of men in Betty Smith’s 1931 play.The Mint Theater specializes in dredging up long-forgotten plays, most of them classically structured and written between the late 1800s and the 1940s. Its latest find is so perfectly on brand that it could have been retrofitted by a canny theater archaeologist. A three-act piece from 1931, “Becomes a Woman” had never been published or produced until now. It’s also by a female playwright — to its credit, a demographic the Mint has long championed. This time, however, she has a familiar name, at least to a certain generation: Betty Smith, the author of the beloved 1943 best seller “A Tree Grows in Brooklyn.”As it turns out, Smith wrote more plays than she did novels, though none were anywhere near as popular as the semi-autobiographical “Tree.” (Her sole Broadway credit is as the co-writer of the musical adaptation’s book, in 1951.)Alas, Britt Berke’s timid production does not make a strong case for “Becomes a Woman.” The evening’s liveliest aspect might well be the erratic outer borough accents.More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.The themes here are similar to those one would find in the pre-Code Hollywood movies of the late 1920s and early 1930s — most centrally, that of a woman becoming pregnant out of wedlock and seeking emancipation from the controlling ways of her father and her boyfriend-turned-husband.Our heroine is one Francie Nolan (Emma Pfitzer Price), who shares a name with the central figure of “Tree” but is not the same character. This Francie is 19 and works at a Brooklyn five-and-dime store, where she trills the songs of the day so customers can decide whether they want to buy the sheet music.It’s easy to feel that little happens in Act 1, but that’s only because we have been trained to think of women talking to each other as being trivial. In fact, a lot of information and characterization is suggested in the affectionate banter between Francie and her older and more experienced colleagues, Tessie (a warm Gina Daniels) and Florry (Pearl Rhein), who try to impart the ways of the world on the younger woman. “A girl has to really like a man before she gets intimate with him, but a man has to get really intimate with a girl before he likes her,” Florry warns the innocent Francie. You can almost hear Barbara Stanwyck saying this line, and Rhein, who has a feel for the rhythm of the period’s language, gets close enough.As to who runs the world, Smith was under no illusion: Francie is under the yoke of both her blowhard, tyrannical father, Pa Nolan (Jeb Brown), and her rich boyfriend, Leonard Kress Jr. (Peterson Townsend). She gets support from Tessie, but ultimately the only person she can rely on is herself.It is not an easy arc to navigate, and Price’s Francie is not as vulnerable and naïve as the character should be at the start, not as steely as she needs to be by the end. Then again, her foils wilt: Neither Townsend nor Duane Boutté (as Leonard’s father) projects the confident authority of a man used to getting his way, while Brown draws Pa with thick Sharpie strokes.Smith could navigate a thin line between sentimentality and clear-eyed realism but alas, this production feels less like complicated life than a diorama of it.Becomes a WomanThrough March 18 at New York City Center, Manhattan; minttheater.org. Running time: 2 hours 30 minutes. More

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      ‘The Rat Trap’ Review: Together for Better, but Mostly for Worse

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      Noël Coward’s bleak portrait of a collapsing marriage between two artists has its American premiere at New York City Center.Sheila Brandreth and Keld Maxwell are in love and about to get married. She is a novelist and he is a playwright, both at the start of their careers: It’s a union made in literary heaven, and Sheila (Sarin Monae West) looks forward to “the joy of working together and helping one another to make our way in the world.”But when Keld (James Evans) is out of earshot, Sheila’s roommate, Olive Lloyd-Kennedy (Elisabeth Gray), offers a more jaundiced perspective. “You are much the cleverer of the two,” she tells Sheila, “and because of that I prophesy that you will be the one to give in.”Alas, it is Olive who is right.This is not much of a spoiler considering that the play is called “The Rat Trap,” the title revealing a gloomy — cynical souls might say realistic — view of marriage as terribly wrong for one party, possibly even both. That this all ends on an uncompromisingly depressing note is all the more startling considering that the show, presented by the Mint Theater, was written in 1918 and is meant to be a comedy.Then again, its author is Noël Coward, whose view of matrimony was like a cocktail of Champagne and strychnine.Written when Coward was 18, “The Rat Trap” was first staged in London in 1926 and is just now making its American debut. Elements of his signature style already figure in this piece of juvenilia, including such epigrams as “Marriage nowadays is nothing but a temporary refuge for those who are uncomfortable at home.” What’s more remarkable is that the teenage Coward had an uncanny sense of the agonizing friction between artistic ambitions and domestic life.Alexander Lass’s underpowered production at New York City Center does not bother exploring some tantalizing possibilities — like, for example, the nature of Olive’s feelings for Sheila — and it does not quite manage to hit either the comic highs or the dramatic lows. (There are also some questionable set and blocking choices, like a sofa positioned in such a way that the actors sitting on it must contort themselves to avoid showing their backs to the audience.)But West shines, first as a woman in love then as one who shrivels into seething disillusion when her career stalls while her husband’s blossoms. Because of course Sheila’s ambitions end up taking a back seat to his. “I gave up my working brain for you,” she tells Keld, who responds with a classic anthem of weaselly self-justification.The play appears to suggest this imbalance is baked into the conventions of bourgeois relationships. But it also satirizes the bohemian pretensions of Naomi Frith-Bassington (Heloise Lowenthal) and Edmund Crowe (Ramzi Khalaf), a couple of proto-hipsters who prefer free love to the officially licensed kind.Coward later wrote that “The Rat Trap” had some merits, but “the last act is an inconclusive shambles.” He was too harsh — the ending is trenchant rather than inconclusive. In love as in war, it seems to say, everybody loses.The Rat TrapThrough Dec. 10 at New York City Center Stage II, Manhattan; minttheater.org. Running time: 2 hours 10 minutes. More

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      ‘Chains’ Review: Drab Lives, but Dreaming of More

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      A young boarder’s plan to make a new life in Australia unsettles a staid British family in Elizabeth Baker’s 1909 play, revived by the Mint Theater Company.On a Saturday afternoon in April, warm sunshine streams through the French doors of Lily and Charley Wilson’s rented London house, with its modest garden just outside. A comfortable home, it’s a bit of a stretch for their budget, so they have a boarder — Fred Tennant, a pleasant young clerk.And Fred, it turns out, has news that will send shock waves through the Wilsons’ peaceful marriage and the contented, conformist lives of their extended family. With two days’ notice, Fred is leaving England for Australia, trading the security of his office job for the risk of adventure in a new, wide-open country.“I’m going to chance it, you know,” he says. “There’s no fortune waiting for me.”To 21st-century American ears, that sounds like nothing to get flustered about. But in the early 20th-century England of Elizabeth Baker’s play “Chains,” which made a splash when it was first produced in London in 1909, Fred is nothing short of a social rebel, tossing away a sure thing to scratch the itch of his restlessness and — heaven forfend — pursue some happiness.“You don’t come into the world to have pleasure,” Lily’s mother says, scandalized.Baker argues otherwise in this well-constructed drama, which beneath its placid surface is as political as any play by George Bernard Shaw — one of her apparent inspirations — but without his dense, intrusive speechifying.In Jenn Thompson’s beautifully acted production for the Mint Theater Company, at Theater Row in Manhattan, the love between Lily (Laakan McHardy) and Charley (Jeremy Beck) is unambiguous. But Fred’s decision unleashes Charley’s anger at his drab, deskbound life, and his regret at having settled down before he saw the world.Trouble is, the country that Fred (Peterson Townsend) is headed to had, in 1909, a law called the Immigration Restriction Act, also known as the White Australia policy, which made it exponentially more difficult for nonwhite immigrants to be allowed into the country.There is no mention of the law in the text, but it would be a reality for any Black migrant. So with a Black actor as Fred — giving a perfectly lovely performance — we are seemingly meant to look past his race, in a way that makes the casting read as colorblind rather than color-conscious, the philosophy that the Mint says it had in mind. Unless we’re intended to think that Fred has done very minimal research before embarking?Peterson Townsend, at right, plans to find his fortune in Australia, which has a thrilling effect on Olivia Gilliatt (center, with Brian Owen), who is engaged to a man she doesn’t love.Todd CerverisOn a nimble set by John McDermott, flatteringly lit by Paul Miller, the action of the play unfolds in under 48 hours, which Baker gives a cheating urgency: When Charley is seized by the temptation to upend his own life and set out for Australia, leaving Lily behind, it’s as if the boat Fred is taking is Charley’s sole chance.They are not the only ones fed up with their jobs. Lily’s sister, Maggie (Olivia Gilliatt), is so tired of working in a shop that she’s gotten engaged to a man she does not love, whose comfortable income will let her stay at home and even have a servant.Her fiancé (Ned Noyes) dotes on her, which turns out not to be what she needs. Fred’s courage thrills and inspires Maggie. She wants a man brave enough to seek his fortune. And she wants to be brave enough herself not to do what society expects of her.Baker, an office worker turned playwright, had some of that daring herself, going into a line of work not known to be welcoming to women. When New York audiences first saw “Chains,” on Broadway in 1912 in an Americanized version, the script was credited in all capital letters to the adapter, Porter Emerson Browne. Baker’s name appeared “in very small type,” according to the review in The New York Times, which accused Browne of “the attempted stealing of her thunder.”Calling Baker’s play “exceedingly clever,” and praising the performances, that review deemed “Chains” nonetheless “something too familiar to create any great excitement with our playgoers.”That’s still true. It is diverting. It’s just not especially resonant in the here and now.ChainsThrough July 23 at Theater Row, Manhattan; minttheater.org. Running time: 2 hours. More

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      ‘The Daughter-in-Law’ Review: Sons and Wives

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      In this D.H. Lawrence play, a production by the Mint Theater, men are trouble, “pure and simple.”In the darkness before dawn, a sleepless woman and her daughter-in-law keep each other company.There is no love lost between these two — Mrs. Gascoyne, a miner’s widow who keeps her miner sons close in their small English town; and Minnie, a former governess who, just weeks earlier, had the gall to marry one of them. But late in D.H. Lawrence’s play “The Daughter-in-Law,” the women are gentle enough with each other to have a heart-to-heart.“A child is a troublesome pleasure to a woman,” Mrs. Gascoyne tells Minnie, “but a man’s a trouble, pure and simple.”If that’s unfair as a generalization, it certainly applies to Mrs. Gascoyne’s Luther, who has passed 30 without exhibiting the slightest twinge of ambition.An enduring mystery of the play is why Minnie, a go-getter with some money of her own, elected to marry him. As a spousal choice, he seems a distant second even to his aimless brother Joe, who still lives with their mother and, in the play’s opening minutes, sits down to a supper that she cuts up for him.In Martin Platt’s diverting revival for the Mint Theater Company, at New York City Center Stage II, the men are not what’s captivating about this play. Rather, it’s Lawrence’s women, drawn with a capacious, conflicted sympathy that recognizes how frustrating it is for a keen-minded person to try to carve satisfaction from a stifling domestic world.Portrayed with a fine ferocity by Sandra Shipley, Mrs. Gascoyne nurtures a bitterness about Luther’s “hoity-toity” new wife — a resentment that’s about class and clannishness, but also about loss of control, because what if her boy doesn’t need her anymore? When an acquaintance, Mrs. Purdy (Polly McKie), breaks the news that her daughter is four months pregnant with Luther’s child, Mrs. Gascoyne’s desiccated heart swells in anticipation of the humiliation this will bring to Minnie.The gentle-mannered Minnie, in a beautifully nuanced performance by Amy Blackman, has trouble enough already. Her new marriage has descended into bickering, and Luther (Tom Coiner) is a self-pitying grump. Still, when she says in the heat of anger that she would have preferred “a drunken husband that knocked me about” to a mama’s boy, it seems a stretch.Written in a thick, distinctive dialect of the East Midlands, where Lawrence grew up, the text leaves room for Luther to have some appealing qualities, but here he is all roughness and no complexity. There’s not even a sexual spark that would make sense of Minnie’s choice to be with him — which is a problem, because we are meant to have a stake in their relationship’s success.His brother Joe (Ciaran Bowling) is at least kind to her, mostly; when he isn’t, the change of tenor is more confusing than anything.As with many Mint productions, the play’s back story is part of the allure. Lawrence’s father was a miner; his mother, to whom he was exceptionally close, came from a slightly higher class. He wrote the script in the years after her death in 1910, around the time he wrote his novel “Sons and Lovers,” which has similar themes.Not staged in Lawrence’s lifetime (and previously directed by Platt for the Mint in 2003), “The Daughter-in-Law” feels at times like a purgation — a 20-something playwright rebelling at last against the beloved mother who demanded too much of him emotionally. When Minnie blames Mrs. Gascoyne for hobbling Luther, as if he had no agency, she can sound like she is channeling the playwright’s own wounded outrage. Rebellion, though, is not the same as revenge.“The world is made of men for me, lass,” Mrs. Gascoyne tells Minnie.But in the world of Lawrence’s play, the women are the stars.The Daughter-in-LawThrough March 20 at New York City Center Stage II, Manhattan; minttheater.org. Running time: 2 hours 20 minutes. More