Off-Broadstreet Theatre invites Gregory Murphy’s ‘The Countess.’
By: Stuart Duncan
Who would have thought that one could fashion an erotically charged romantic drama out of the life of British painter, art critic and essayist John Ruskin? But Gregory Murphy’s first play, The Countess, had a couple of staged readings in London, traveled to off-off-Broadway and finally landed off-Broadway, where it ran for more than two years.
The work is being given a thoroughly delightful revival with a superb cast and thoughtful direction at Off-Broadstreet Theatre in Hopewell through mid-March.
John Ruskin, you may remember, was a champion of the Pre-Raphaelite movement, known for its rebellion against the materialistic standards of Victorian England. The son of a well-to-do London wine merchant isolated and pampered in his youth Ruskin challenged the stifling influence of the Royal Academy and its scion, Sir Joshua Reynolds.
Reynolds had established a rigid code that called for the emphasis of shadow over light, muted tones over vivid coloring, and the idealization of landscapes. By contrast, for the Pre-Raphaelites, truth to nature was to be art’s only guideline. Furthermore, when the identity and extreme youth (all were only in their early 20s) of the artists was discovered, there was a firestorm of outrage.
This is not much basis for a romantic drama, and not particularly erotic, but below the surface of the facts laid a scandal that would rock staid London and provide the plot for Murphy’s play. Ruskin’s young wife, Effie, was desperately unhappy as her husband refused to consummate their marriage, throwing the blame on her. And when, in the summer of 1853, Ruskin invited John Everett Millais to join them for a four-month holiday in Scotland, the time was ripe for intrigue.
The story unfolds in episodic fashion, weaving Ruskin’s parents and Lady Elizabeth Eastlake, a strong support for the young wife and herself a noted essayist, in and out of the web.
Director Robert Thick has assembled his usual company of actors particularly well matched to the roles. Doug Kline and Lois Carr are Ruskin’s parents, rocks of the Establishment, wall-eyed in their devotion to their son. Ed Teti plays Ruskin with a touch of the arrogance that comes from always knowing one is right. Marianne Ahern finds both backbone and compassion as Lady Eastlake. Young Weston Ludeke, as the serving boy, Crawley, reminds us that the Victorians never waited for servants to reach maturity before pressing them into service.
But the evening rests with Walter Cupit as Millais and Jennifer East as Effie. Both are brilliant Mr. Cupit has just the right mixture of passion and denial; Ms. East, her eyes flashing with the growing awareness that her actions will inevitably lead to society’s scorn, takes on the colorization of a heroine.
Mr. Thick’s set is one of the joys of a delicious evening. You might do well to read the rather extensive notes provided for the program, outlining the history of the era. You can do that while eating the particularly fine desserts before the show starts.
The Countess continues at Off-Broadstreet Theatre, 5 S. Greenwood Ave., Hopewell, through March 15. Performances: Fri.-Sat. 8 p.m., Sun. 2:30 p.m. Doors open one hour earlier for desserts and beverages. Tickets cost $22.50 Fri., Sun.; Sat. $24. For information, call (609) 466-2766.<</i>br>

