Shaw by Starlight: George Bernard Shaw Takes a Bow at Victorian Voices

By BY MARK GRUBER

2009

George Bernard Shaw had many faces in Victorian society. A Dubliner, who as a young man established himself in London writing for newspapers, he would become an influential critic, writing about the music and drama of Victorian London, and a major playwright in his own right. His plays and even his letters become the literature of his time.
Among the echoes that emerge from this Victorian voice, Shaw may be most remembered for his play Pygmalion, which would go on to have a life of its own as My Fair Lady. The starring role of Eliza was conceived by Shaw for a particular actress and muse: Mrs. Patrick Campbell (Stella).
The letters sent by the prolific Shaw to his actress muses are richly telling of a man who loved women and embraced the emerging and expanding role of women.
Such is the backdrop of our comic play at Terrace Hill the evenings of June 4, 5, 6, 11, 12 and 13.
Shaw advised his actress friend, Stella, on her career path, choosing the right play to carry her stardom onto the London and European stages. He had to convince Stella that his new play was right for her. Pygmalion would be staged at the Kings Theatre in London, where one of Londons finest leading actor/managers, Herbert Beerbolm Tree, would originate the role of Professor Higgins.
The sizable egos of these three collide with comic effect. Shaw tilts with his beloved Stella over the Interpretation of Eliza, sparring over what a real woman of character would do if caught in Elizas predicament between classes of society.
Archibald Henderson, a Shaw biographer, wrote: One of Shaw’s most amiable traits was the irresistible impulse to pay extravagant court to the leading, and even the secondary, ladies in his cast. Sometimes he staged a simultaneous double courtship. He was a dramatic amorist, putting on a delightful act of impassioned love infinite blarney, super extravagant compliments mingled with cuddly baby talk, abandoned ravings over beauty of face, voice, neck, eyes, feminine glamour of all sorts.
Ladies delighted in it, laughed at it, accepted the role of inamorata, and played up to it some even fell-hard for it. With his instinctive love of fair play, Shaw always warned the objects of his protestations that he was utterly untrustworthy, a past master in the arts of philandering and amorous small-talk, but that he never meant a word of it, was a cold heartless villain who should never be taken seriously.
Repertory Theatre of Iowa (RTI) will bring to life not only the plays of Shaw, but Shaw himself and the Victorian actors who are rehearsing Shaws latest new play. Overuled will be the centerpiece a play that, among Shaws varied voices is similar to Oscar Wildes The Importance of Being Ernest, but remains pure Shaw comedy.
RTI actors Kerry Skram and Mark Gruber will join John Zickefoose in bringing Shaws characters to life. Rich Richards, Deshauna Langford and John Robinson are also featured members of RTI who will play Shaw for you this June.
Victorian Voices will uncover a distinctly Victorian sentiment on the subject of love,
as seen by Shaw.
A dessert reception with the actors will follow each performance. Tickets ($25 per person) are available by calling 515-280-3450 or by e-mailing stevenoperson @aol.com. Proceeds benefit the preservation and programs of Terrace Hill.
Victorian Voices 2009 is made possible by underwriting from Wellmark, Blue Cross & Blue Shield of Iowa.

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