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Synopsis.
DIVIDING THE ESTATE, a human comedy about a family that must confront its past as it prepares for its future, opened to critical acclaim in fall 2007 at Primary Stages. Family matriarch Stella rules over the family, but she is 85 years old, and her family smells their inheritance coming. What other items do customers buy after viewing this item? Three Plays: Dividing the Estate, The Trip to Bountiful, and The Young Man from Atlanta Horton Foote. Mostly female cast
The stage vet brings a gossipy sense of mischief; a frayed, earthy authority; befuddled confusion; withering double takes; and a determination to hold onto the past that steadily and sadly erodes as reality stacks up against her.Ashley’s is an appropriately big-hearted turn in a work from a playwright whose every line ripples with heart. Down to its generic title, the comedy doesn’t have the delicacy of the playwright’s best work, like the achingly elegiac “The Trip to Bountiful,” seen in a superlative New York revival two seasons back at Signature Theater Company. Stella entrusts the running of the house to her dutiful daughter Lucille (Penny Fuller) and management of the estate to Son (Devon Abner), Lucille’s level-headed 40-year-old son.Reflections on the downturn in the community come — not always entirely organically — via Son’s schoolteacher fiancee Pauline (Maggie Lacey), whose sweet-natured openness contrasts nicely with some of the family members’ self-interest.Initially front and center among those itching to avoid inheritance taxes by splitting the assets while Mama is still kicking is her son Lewis (Gerald McRaney), a drinker and gambler who finds himself in an awkward corner when his relationship with a young girl comes to her hostile father’s attention.But Lewis’ demands for advances on his share of the estate seem almost diplomatic next to the shameless maneuvering of his sister Mary Jo (Hallie Foote), a sharp-edged harpy whose husband Bob (James DeMarse) has no problem segueing from moments of pain or grief directly into calculated questions about the cash supposedly coming his way.Rounding out the thorny family tree are Mary Jo and Bob’s bored, selfish daughters, sitting cross-legged and exchanging disapproving glances in Nicole Lowrance and Jenny Dare Paulin’s amusing perfs.Then there’s doddery 92-year-old lifelong family servant Doug (Arthur French), too proud to relinquish his duties to plain-speaking housekeeper Mildred (Lynda Gravatt) and even less to young Cathleen (Keiana Richard), whose efforts to better herself at college are looked on dubiously by uneducated Doug. Gain full access to show guides, character breakdowns, auditions, monologues and more! Indeed, while Wilson’s approach at first seems blandly efficient, the absence of directorial or design flourishes precludes distractions from the sensitive observation of the extended family, its bonds and its frictions.Much as the scenario seems familiar and the ending too protracted, Foote nudges the outcome in quietly surprising directions offering bittersweet irony.
Old resentments and sibling rivalries bubble to the surface as the hilariously dysfunctional Gordon family of Harrison, Texas, spar to claim the biggest piece of the pie in the wildly funny, Tony-nominated DIVIDING THE ESTATE by Pulitzer Prize and Oscar-winning Horton Foote.
Here we get a plot that’s more sure-handed and less soap opera. The late playwright Horton Foote returned to Lincoln Center Theater where his play The Carpetbagger's Children had been presented at the Mitzi E. Newhouse Theater.
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But even at less-than-peak form, Foote is a profoundly humanistic playwright. And French’s scenes are among the play’s funniest and most touching.Hallie Foote remains a peerless interpreter of her father’s work, deftly edging Mary Jo toward unsympathetic, often hilariously prickly extremes before pulling her back to show the vulnerability beneath the manipulation.Perhaps best of all is Ashley, wrapping her smoky tones around a role with more than a touch of Big Mama from “Cat on a Hot Tin Roof,” a part she played for Wilson at Hartford Stage in 2005.
Gain full access to show guides, character breakdowns, auditions, monologues and more! The wily interplay between Ashley and French and the mutual loyalty of their senior status among the white and black characters, respectively, feeds a well-nourished strain of poignant humor.Any of the folks onstage might have veered into caricature, but Foote’s feather-light touch as a sculptor of flawed but never irredeemable characters — echoed by the expert cast’s subtle degrees of exposure — enables them all to keep uncovering fresh nuances.
Dividing the Estate, considerably shorter on histrionics than the aforementioned Pulitzer-winner August, is arguably an even better play because of its clear, clever plotting.
Paperback. 5.0 out of 5 stars 5.
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Read Next: James Corden Thinks Streaming Services Should Help Broadway Recover From the Pandemic (Watch) It's a distinctly old-fashioned, single-setting work with an air of familiarity in its account of a farm family circling an elderly matriarch for their share of the inheritance.The play, which premiered at the McCarter Theater in New Jersey in 1989, receives a solid Primary Stages presentation from Michael Wilson. It's not entirely surprising that Horton Foote's "Dividing the Estate" has taken almost 20 years to reach New York. Variety and the Flying V logos are trademarks of Variety Media, LLC.
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