Those Who Eat the Earth

The Little Foxes – Citadel Theatre

 

The Hubbards are a coldblooded, money-hungry, aristocratic clan who live near each other in a small, Southern town at the turn of the century. In order to achieve what they want, they’re not above lying, cheating, stealing and even watching family members die. Regina Hubbard Giddens and her brothers Benjamin and Oscar Hubbard say goodbye to William Marshall, their much-respected, enterprising dinner guest from Chicago, as a money-making plan is set into motion. This greedy, scheming family live like a pack of drooling jackals, continually sniffing around for opportunities to get fatter and with little care for anyone but themselves. 

Lillian Hellman’s somewhat autobiographical drama, which takes its title from a line in the Song of Solomon, has been enjoyed for decades. It played more than 400 performances when it first opened on Broadway in 1939 and starred the celebrated actress, Tallulah Bankhead. Two years after that, Ms. Hellman wrote the screenplay for a film version that starred Bette Davis, and subsequently the playwright wrote “Another Part of the Forest” as a prequel to the drama. Mike Nichols later revived the play at Lincoln Center in 1967, starring Anne Bancroft. Another noteworthy revival in 1981 starred Elizabeth Taylor as Regina. Later, a 1997 Lincoln Center production starred Stockard Channing in the leading role; and just last year another acclaimed Broadway revival starred Laura Linney and Cynthia Nixon, who alternated in the roles of Regina and Birdie.

This terrific production, an auspicious opening of Citadel’s 16th season, is guided with spirit and finesse by Kristina McCloskey’s firm directorial hand, and demonstrates her eye for style and a reverence for Ms. Hellman’s delectable dialogue. The resulting presentation is a magnificent must-see. The characters in this play are not people theatergoers would ever want to know. The performances are seldom subtle and often range between overbearing confrontations and loud family arguments. It’s in the play’s quieter moments, however, when Ms. Hellman’s story truly speaks the loudest. The serene beginning of Act III, for instance, is such a scene. In it Birdie, Oscar’s aptly named, tyrannized wife, painfully admits that she’s turned to drink in order to escape the daily pain and humiliation she suffers. When Birdie (beautifully played by Alicia Kahn) confesses that she’s never known an entire day of happiness since being married, the woman’s hurt and indignation resonates loudly with the audience.

Eric Luchen’s dark, sumptuous, Victorian drawing room setting, with its hint of a grand staircase, a view into the dining room through French doors, windows draped in green velvet and heavy, stuffy furnishings all breathe life into an era that most people have only seen in museums. Daniel Lewis’ naturalistic lighting creates both the soft luminescence of gaslight sconces and chandeliers, balanced by the gray melancholy of a spring thunderstorm. The upper middle class elegance created in Amanda Vander Byl’s period-perfect costumes help complete the exquisite look and feel of this production.

Once again Citadel Theatre has found the ideal cast for its production. Equity actress Saren Nofs Snyder is determined, smartly arrogant and self-entitled as Regina. The actress radiates cool composure until she’s crossed; then feathers fly and we see her true colors. Thom Thomas, is excellent as one of “those who eat the earth.” He seethes with menace, quietly manipulating those around him to benefit his own cause. As he oils his way around the room, Mr. Thomas is a snake poised and ready to strike at any moment. Less controlled, but equally as intimidating and dangerous, is Scott Phelp’s Oscar. He’s a raging bull, a bully and a tyrant, who doesn’t think twice about striking his subservient wife, Birdie, whenever he’s displeased. The most sympathetic character in the play is Horace Giddens, Regina’s ailing husband, played with honesty and empathy by Tim Walsh. This man, who’s had his own trespasses, suffers physically and emotionally, instigated by the eternal bickering and machinations of his wife and her siblings. In the quiet opening scene of Act III, it’s clear that he and Birdie might’ve been a better, healthier match. 

Ryan Leonard nicely plays smug Leo Hubbard, Oscar’s bumbling son. With a smarmy eagerness for kissing up to his elders, Mr. Leonard portrays a young man who lives only for approval. Anna Civik is distinguished as Alexandra, Regina and Horace’s young daughter, who journeys from innocence to wisdom, as she learns to what lengths her family’s greed will drive them. The actress’ love and devotion to her father and aunt is as moving as it is authentic. As Addie and Cal, the family’s devoted African American servants, Terri Lynne Hudson and William Anthony Sebastian Rose create two strong, empathetic characters who try to bring a degree of warmth and calm to every situation. And Eliott Johnson is strong and sincere as Chicagoan William Marshall, whose business offer sets the play’s wheels in motion.

Lillian Hellman’s play grips the audience from its very first scene and never lets go until the final moments. Kristina McCloskey’s production about a ruthless, selfish, well-to-do family, who continually want to have more, is intense, sometimes a little slowly paced, but perfectly cast, truthfully acted and gorgeous to behold. This is the Citadel Theatre at its finest, and an omen of more good things to come this season.

Highly Recommended

Reviewed by Colin Douglas  

 

Presented September 28-October 28 by Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL.

Tickets are available by calling the box office at 847-735-8554 or by going to www.citadeltheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.