THE GRACE OF MARY TRAVERSE
Grace is anything but graceful. Mary, the rapidly disillusioned title character, is mercilessly jerked from a cloistered girlhood–where she’s taught only to please–and thrown into careers as a gamester, whore, and political firebrand. As it follows these careers, Grace rides an emotional roller coaster as tumultuous as anything Les Miz inflicted on its all-suffering characters (and audiences).
Best of Chicago voting is live now. Vote for your favorites »
The generosity of spirit of this female Tom Jones almost redeems its excess. Wertenbaker takes her 18th-century protagonist and sends her on a ferocious power trip, a journey that could easily touch chords in a modern audience. But Wertenbaker has written too many plays in one, wearing out our patience.
Shielded by her forgiving father, Mary escapes punishment but not guilt. But in the end Mary decides to live in the hope of gaining some grace in a corrupt world. (The ending all but appropriates the “Make Our Garden Grow” finale from Candide.)
As the contemptible Tory demagogue Lord Gordon, Dan Scott combines goofiness with dangerous stupidity; Mel Zellman, as a manipulative, cynical party leader, exudes smooth-faced opportunism. (Zellman has a wonderful voice but needs to hold on harder to his English accent.)
