Launching its new "American Standard" series, Colonial Players is presenting Lillian Hellman's "Watch on the Rhine" — a 1941 work that reflected the playwright's understanding of the horror descending on Europe before most Americans had any awareness of it.
Hellman's powerful drama is set in 1941 Washington at the family home of matriarch Fanny Farrelly as she awaits daughter Sara's return from Europe with her family. Sara is coming home after 20 years married to German husband Kurt, and she is raising their three children.
We gradually learn of the intense involvement of Sara's husband in underground work combating the rise of Hitler. Looming dangers existing at home are suggested when a displaced Romanian count recognizes and threatens Kurt — which shocks Farrelly mother and son into an awareness of the dangers faced by Sara's husband.
Hellman's drama reveals the encroaching menace of Nazism, casting a shadow on the serenity of the Farrelly home and offering a glimpse of impending horror and courageous combatants. Hellman's grasp of reality is expressed by her characters: heroic Kurt and his enemy, Count Teck de Brancovis, a man lurking as the family's house guest and threatening to blackmail Kurt after discovering his fundraising activities.
The audience is nearly 75 years removed from the events portrayed in the play, and director Terry Averill acknowledges this, noting that the work by the team of actors, designers, and crew "might represent selfless art at its best, not done for applause but for the opportunity to plant a seed in the minds and hearts of our audience that may someday bear fruit."
In addition to broad political acumen and uncompromising honesty, Hellman had extraordinary insight into human behavior, enabling her to create relatable characters as seen in the entire Farrelly family — mother, son and daughter, plus three grandchildren. Son-in-law Kurt is a distant, enigmatic figure, and house guest de Brancovis is the contrasting villain. His American wife, Marthe, is gently without self-deception. Feisty housekeeper Anise withstands Fanny's frequent badgering, as does servant Joseph.
Colonial Players' production is graced by actors well cast in every role, and Averill sensitively directs them with a goal to communicate the playwright's message of human respect and freedom, involving "attention and awareness and discipline, and being able truly to care about other people and sacrifice for them."
Helping to bring this drama to vivid life is set designer David Pindell, an Annapolis architectural designer making his Colonial Players debut with this production.
Also debuting with the troupe is costume designer Bonnie Persinger, whose designs reflect the 1940s and are stunningly displayed by CeCe McGee-Newbrough as Fanny Farrelly. Costumes for Theresa Riffle's Sara are appropriately subdued in somber tones. Other cast members are suitably garbed in 1940s-era attire.
As Fanny, McGee-Newbrough initially badgers servants Anise, played by Mary MacLeod, and Joseph, portrayed by Daniel Lopez, as she obsesses over the imminent arrival of daughter Sara and family while managing to inject needed humor in the opening act. MacLeod delivers her usual excellent portrayal as Anise, and Lopez is fully credible in his debut role of Joseph.
McGee-Newbrough's grande dame later reveals unsuspected depth and wit, sharply challenging those who intrude on her home sanctuary. Later, when recognizing the evil threatening her family, she summons commendable courage to protect her flock.
Also gaining stature as the play progresses is Fanny's son David, portrayed by Benjamin Wolff, a strong ensemble player. Wolff relates affectionately to family and portrays a loving relationship with Marthe, the unhappy American wife of de Brancovis, and courageous support for brother-in-law Kurt — as well as disgust for the Romanian house guest.
Marthe is sensitively played by Shannon Benil, who projects longing for a meaningful relationship and an unhappiness with her parent-arranged marriage. Timothy Sayles conveys the displaced count's opportunistic, sometimes brutish behavior, maintaining his generic European accent consistently.
Theresa Riffle captures Sara's quiet devotion to husband Kurt, extending to full support of his dangerous career, warm affection for her children and loving tolerance of her mother and brother.
John Coe is amazing in the demanding role of Kurt — his first since performing in high school Shakespeare plays.
While maintaining an acceptable European accent, Coe conveys Kurt's dedication to career and tender affection for family. Toward the play's end, he projects credible daring.
Young actors cast as Muller children deliver professional characterizations: Eli Pendry, 18, as Joshua; Katie McMorrow, 16, as Babette; and Andrew Sharpe, 12, as Bodo.
The Colonial Players' production continues through March 21 at the troupe's theater, 108 East St., Annapolis. For showtimes and ticket information, go to thecolonialplayers.org.
After "Watch on the Rhine," additional shows in the Players' series include "Ernest In Love" by Anne Crosswell and Lee Pockriss, then Christopher Durang's comedy, "Why Torture Is Wrong and the People Who Love Them."