TOM TITUS -- THEATER REVIEW

The English drawing room comedy has been a staple in the world’s

theatrical repertoire since time immemorial, and thus it would seem that

South Coast Repertory might have chosen a more substantial piece from

this genre to open its new season than W. Somerset Maugham’s octogenarian

play “The Circle.�

There are, to be sure, some rather audible chuckles in director Warner

Shook’s staging of this talky trifle, first unveiled in 1921. But, for

the most part, this is a flaccid piece of fluff, resuscitated by a few

sterling performances.

Maugham’s gimmick in his examination of Victorian mores is the

supposed manner in which romantic dalliances repeat themselves from one

generation to the next. A young member of Parliament has never forgiven

his mother for running off with a lover 30 years ago; now his young wife

is about to reprise the mother’s actions.

The problem with this scenario, at least in SCR’s production, is that

one doesn’t give a brass farthing whether the young lady escapes with one

insufferable bore or remains with another. Either way, she’s not destined

for an E ticket ride through life.

Rescuing the show from terminal ennui are the trio of oldsters who

form the triangle of three decades past. Maugham endowed them with enough

depth and irony to enrich the situation immeasurably. And Shook has cast

three marvelous veterans in these roles, actors who command the stage

when present and are sorely missed when absent.

John Hines enacts the young anal-retentive fussbudget of a

parliamentarian with appreciable skill. His only shortcoming is the role

itself. It’s not detailed enough to cause an audience to side with him or

against him. Hines’ character’s strange ambiguity in matters of the heart

leaves him on rather neutral dramatic ground.

More appealing is the vivacious nature of his wife, Elizabeth, saucily

rendered by Nancy Bell in a performance that very nearly usurps the play.

Bell is caught between a cold husband and a bumbling would-be lover,

seemingly forcing herself into the latter’s camp somewhat by default.

This is due to the completely buffoonish characterization of the

interloper by Douglas Weston, who presents the most engagingly awkward

case for infidelity imaginable. One would have to be wed to a tyrannical

monster to consider such a transfer of affection, and Hines’ character

simply is indifferent.

Fortunately, there are the old timers to breathe life and genuine

comedy into this circuitous “Circle,� starting with Paxton Whitehead as

Hines’ father, who maintains a cottage on his son’s property and drops by

periodically to offer unsolicited advice. Whitehead carves up a good bit

of this comedic pudding for himself in a wonderfully understated

performance steeped in ironic wit.

Carole Shelley approximates a malevolent Hermione Gingold in her

performance as the errant mother, who has second thoughts, even now,

about her decision of three decades ago. Her overtures to Whitehead

suggesting a reconciliation are beautifully proffered -- and even more

beautifully spurned by the quite content ex-husband.

The reason for such consideration on Shelley’s part is quite

effectively illustrated by William Biff McGuire as the elderly nobleman

who once stole his friend’s wife and now might well be quite willing to

return her. McGuire portrays Lord Porteous as a cantankerous old coot

with a sour opinion on just about anything the others might care to bring

up in a richly etched, mildly venomous portrayal.

John-David Keller contributes a fine cameo as the proper butler, a

guise he’s perfected over his 28 years with SCR, and Travis Vaden

performs wordlessly as his lackey. As for Rebecca Dines as a friend of

the younger couple, she seems present merely for set decoration.

“The Circle� -- which is nicely presented, against the backdrop of

Ralph Funicello’s immaculate 1920s setting -- was inexplicably named

among the 100 most significant plays of the 20th century in a national

theater poll three years ago. In fact, it is its inherent insignificance

that makes the SCR production an occasional delight.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Thursdays and Saturdays.

FYI

WHAT: “The Circle�WHERE: South Coast Repertory, 655 Town Center Drive,

Costa Mesa

WHEN: 8 p.m. Tuesdays through Fridays, 2:30 and 8 p.m. Saturdays, and

2:30 and 7:30 p.m. Sundays until Oct. 7

COST: $27-$52

CALL: (714) 708-5555