"Laura" at the Shaw Festival
Daniel Kessler
"Laura" was this year's "murder mystery," at Shaw since they have had
this long standing tradition of reviving these pieces.
"Laura" was an interesting choice, a play that appeared several years
after the mystery novel by Vera Caspary and the famous movie starring
Gene Tierney, Dana Andrews and Clifton Webb. In her novels and film
writing, Caspary seemed to fancy strong women, put upon by equally
strong men. This work does have an odd genesis, from first from novel,
to film and then as a play.
I was surprised to find that the title character was more Bette Midler
than Gene Tierney, a sort of wise-cracking career girl who wrote
advertising copy as did Vera Caspary earlier on in her career. I could
never fathom Gene Tierney as a working girl. Also, the role of Waldo
Lydecker is physically a much more forceful personality than that of
Clifton Webb in the film.
There is an interesting reference in the play to American portrait
artist, Eugene Sepicher (1883-1962). This is when Laura's friend, Waldo
Lydecker, references the portrait over the fireplace of Laura, one that
seems to have snared detective McPherson and is, Waldo says, is in the
style of this famus American artist who was born in Buffalo, New York.
By the way, Speicher was known for his very famous portrait of Kit
Cornell among others.
Caspary needed the help of her playwright friend, George Sklar to adapt
the piece for the stage.
All performances of "Laura" are apparently sold out. I found it most
enjoyable and imaginatively done. Yes, they did have some lovely music
by Duke Ellington to set the mood of each scene that was very "Manhattan
in the 40's" with saxophone and piano. Also, a brief appearance was
made of the 1944 movie theme song as well.
The play was dispatched with touches of humor and good taste.
"Laura" was last seen on the New York stage back in 1947 when it opened
and played to only 44 performances. An earlier version starring Miriam
Hopkins closed out-of-town, in 1946. An earlier London version was at
the St. Martin's Theater in 1945 and played for 67 performances. There
was also a TV version adapted by Truman Capote.