Max McNamara, Lily Narbonne, Michael McNamara and Cassie Stewart rehearse Theresa Rebeck’s philatelic “Mauritius.”
Objects of great value prove their worth. Perhaps not at first, but over time.
Some objects, like the two rare stamps at the center of the conflict in Theresa Rebeck’s “Mauritius,” which the Fishtown Players are staging through Nov. 10 at Gloucester’s Rogers Street Theatre, have such value that they immediately corrupt everyone who comes in contact with them.
Other things of value—like this well-crafted play itself—will take a bit of time to be appreciated. An uneven opening night performance could not mask the inherent entertainment value of “Mauritius,” which debuted at Boston’s Huntington Theatre in 2006, and eventually found its way to Broadway. The prolific Rebeck has supplied everything a cast could want—sharp dialogue, a rich plot, and five characters all angling grimly for a big score.
Some dropped lines, stifling the pace of this taut little exploration of greed, kept opening night from becoming a complete success. Trivial things like that will easily be overcome during the run, especially with the focused, engaged cast of actors that the Fishtown Players have assembled.
Cassie Stewart stars as Jackie, a complex, damaged woman whose mother just died and whose long-dead father probably abused her. She finds herself with an inherited stamp collection, along with a re-emerged half sister (Lily Narbonne, as Mary) who claims the collection for herself. A trio of middling con artists (Justin Genna as Sterling, Max McNamara as Dennis, and Michael McNamara as Philip) sense not only the value of the stamps, but the vulnerability of the sisters as well.
The plot—and the language—strongly mimic David Mamet’s “American Buffalo.” Filled with F-bombs and double-crosses, with hardly a sympathetic character in sight, that comparison is inevitable. But Rebeck has built her own onstage dynamic, thanks mainly to Jackie’s unlikely combination of vulnerability, smarts and bravery.
None of the characters act without self-interest. The sisters bicker over ownership of the stamps, and their unresolved past. The con men con each other while trying to con the sisters. Rebeck cleverly alludes to the past—what happened to Jackie? Did Sterling have an affair with Philip’s wife?—without too many details. What’s unsaid speaks loudly in “Mauritius.”
M. Lynda Robinson directs, and keeps the blocking simple. The sets and costuming are contemporary, unobtrusive. Fight scenes—always a challenge to stage realistically—need more repetitions. The casual way the priceless stamps are handled and mishandled often strains realism.
But with five characters all obviously trying to double-deal their way to riches, saying and doing the unexpected to make it happen, “Mauritius” offers a compelling case for greed as entertainment. It’s almost all bs, but unpredictable bs. When Dennis and Sterling—especially during his mansplaining monologue about shady transactions—are at their scummy, con-artist best, the action comes alive.
Another thing of value emerges from “Mauritius”—the re-opening of the Rogers Street Theatre itself, which was shuttered briefly over some procedural problems. The intimate, quirky space is perfect for community theater. The small stage forces players to be creative with the action, but the audience has plenty of comfortable space to enjoy that creativity.
The Fishtown Players present Theresa Rebeck’s “Mauritius” Nov. 1 through 10 at the Rogers Street Theatre in Gloucester. For tickets and information visit fishtownplayers.com or call 978-515-7957.