Theater: Grey Gardens

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Grey Gardens Theatre Schedule

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Grey Gardens

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Grey Gardens is undoubtedly a fitful combination which is an amalgamation of ideas some inspired whereas some mediocre. The music's success in charting women's decline never satisfactorily answers the film's biggest question as is: How could this happen? If the question is considered the authors of the musical don't start as the film did. It is basically the gorgeously appointed Grey Gardens of 1941. It is during when everything might have gone wrong. The day of the party is celebrated with the engagement of young Edie (Sara Gettelfinger) to Joseph Kennedy Jr. (Matt Cavenaugh). Spotlight-craving Edith (Christine Ebersole) oversees and overtakes. History tells the engagement as unsuccessful and therefore the authors decides to discern. It might have caused Edie who is a young woman with everything before her and to end up with so little.

The songs are basically an amalgamation of brand new big-band standards as well as Cole Porter-style musical repartee. Definitely pleasing and possessing toe-tapping melodies are given spirited performances by the cast members. The tunes are familiar that reassure a collection of polished period which befit together the characters and situations. The second act that is set in 1973 essentially defeats its authors. The intriguing choice of engaging Ebersole playimg Edie brings in Mary Louise Wilson to play Edith. They are not in the involvement in the replicate either of the distinctive style of the film nor of the fresh originality of the first act. They rather settle into a too-unsteady area in between.

Only one song digs into anyone's soul which is Edie's plaintive "Another Winter in a Summer Town," which is when she intends to step from her mother's shadow. The other songs are devoted to Edie's revolutionary fashion sense. The second act taps into what truly was intended to mourn which is really the gradual erosion of American royalty. The first act's abundant promise is unfulfilled resulting in the women's specific struggles and unique bond which are never brought to light. Wilson doesn't face a problem. Ebersole, the focus and the older Edith remain relatively as surface-bound. McMartin as the Major and radio preacher in the second act still brings a welcome color to his portrayals.

Cavenaugh and Gettelfinger lack charisma or charm to suggest their survival in '40s high society. They basically are the prime example as to why the authors' tell an old story playing modern rules which fails to succeed. Wilson and Ebersole successfully fill the gaps yet fail to supply the timeless and dated spirit. It is what made the documentary's unwitting stars to light up the screen.