Tod Mason, Paul Bomba and Erwin Falcon in a scene from
From Rags to Riches at Metropolitan Playhouse
(Photo credit: Jacob J. Goldberg)
Melodrama in the theater has come to be a dirty word but it was the staple of the American theater until the advent of realism and the plays of Eugene O’Neill. Metropolitan Playhouse whose mission is exploring plays of the American theatrical heritage has rediscovered a smash hit from 1903 From Rags to Riches by Charles A. Taylor, known as the “The Master of Melodrama.” From Rags to Riches, written for the author’s then wife, later the legendary Laurette Taylor who made her New York debut in the leading role, is great fun because of the intricate plotting, the outrageous contrivances, and Alex Roe’s delightful production.
The Metropolitan Playhouse’s 20th season is devoted to “Class” and From Rags to Riches delineates two classes in American society: the haves and the have nots. Money and its use is the underlying theme of the play, and in that it seems extremely modern. It depicts a turn-of-the-century New York in which some are very rich and above the law, while the rest are poor and automatically suspect. On that level, it is a parallel for our culture today where money talks and wealthy crooks get off lightly while the disenfranchised languish in their poverty as well as find themselves without resources before the law. And those who spend extravagantly are seen as celebrity heroes and trendsetters, even when they come to a bad end.
From Rags to Riches is a classic melodrama in that it includes all of the required elements of the genre: damsels in distress, nefarious villains who appear to be virtuous, asides to the audience, multiple coincidences, attempts at violent crimes, large emotions, characters in disguise, emphasis on physical action, sudden reversals of fortune, and a happy ending for all the good characters and a bad end for the evildoers. This play, however, is also much neater than such plays usually are.
Each of the play’s seven scenes ends with the requisite cliffhanger, but the play is very well crafted with no loose ends. Taylor appears to have known of Ibsen and the well-made play formula while at the same time exploding the rules of the by then old-fashioned Victorian melodrama. The characters may be stock types but they are fully developed and all of the main characters put in an appearance in each act. This is unlike the construction of many traditional melodramas in which characters reappear only as plot devices for the author.
Much of the play depends on the back story which is laid out in the first scene. Fourteen years earlier, evil gambler Prince Charlie, nephew and heir to old Montgomery, had framed Albert Cooper in order to seduce his wife Gertrude, who then lost her two children. Just as Albert is let out of prison, Charlie meets and lusts after Flossie, the counter girl at the coffee stand run by Mother Murphy, who has adopted the orphaned girl and her younger brother Ned.
Meanwhile, Prince Charlie is living in an unmarried state at his uncle’s house with the gold-digging Flora pretending to be Cooper’s wife to whom Charlie claims to be making amends. Unknown to Charlie, his uncle’s nurse who wears dark glasses is the missing Gertrude, and Flossie is the lost daughter that she seeks.
The plot is put in action when Flora and Charlie attempt to poison his uncle in order to inherit his estate. Flossie’s plucky brother, known as Ned Nimble the newspaper boy, comes to the rescue as Prince Charlie attempts to kidnap his sister and take her out of the country on his ill-gotten gains, while Mother Murphy is taken in by Charlie’s elegant manners and practically throws the impressionable Flossie at him.
Aside from his impeccable casting and understated direction, Roe is also responsible for setting the beginning of each scene to original music which establishes a mood of Victorian music hall. In addition, he is responsible for the simple but effective sets which allow for quick changes from a street on the Bowery, to a mansion on Manhattan’s West Side, the roof of the Waldorf Hotel, a basement dive, and an estate on the Hudson. Sidney Fortner’s many costumes are redolent of the period as well as attractive in their own right. Flora’s gowns are particularly stunning.
Erin Leigh Schmoyer and Tod Mason make excellent adversaries as Flossie and Prince Charlie. Schmoyer’s disarming Flossie is the uncultured girl brought up on the streets who will do almost anything for money – but within moral limits. Mason’s Charlie is the suave villain who does not twirl a mustache but is much more insidious in his evil doing. As Flossie’s resourceful brother Ned, Paul Bomba deals heroically with the worst of Prince Charlie’s malevolent schemes and much of the physical exploits. Carol Lambert’s cheerful laidback Irish charm as Mother Murphy contrasts with Ingrid Saxon’s intense and impassioned Gertrude.
Claire Warden, on the other hand, gives an elegant, drawing room portrayal of the mercenary Flora, looking and sounding a great deal like the young Diana Rigg. Ralph Petrarca is convincing as the alcoholic Albert Cooper, as well as responsible for the deft arrangements and live accompaniment to the songs before each scene. Straight out of a turn-of-the-last century penny dreadful but no longer to be seen in movies or plays, Erwin Falcon is amusing as the evil Chinese Sam. Peter Judd and Richard Cottrell give able assistance as old Montgomery and retired Police Detective Brown incognito, respectively. Josh Gulotta and V. Orion Delwaterman demonstrate their versatility playing ten roles between them.
Metropolitan Playhouse has found a winner in the forgotten From Rags to Riches by Charles A. Taylor. From the polished direction of Alex Roe, to the admirable stylishness of the 13 member cast, to the appealing visual design and musical interludes, this is an excellent introduction to theater before realism. The Age of Melodrama may be dead and buried, but you would never know it from this 108 year old play which turns out to be great fun in our century.
From Rags to Riches (through October 16)
Metropolitan Playhouse, 220 E. 4th Street, 2nd Floor, in Manhattan
For tickets, call 212-995-5302 or http://www.metropolitanplayhouse.org