The Sharon Playhouse held a one night showing of the play “Love Letters” by A.R. Gurney on Saturday, Feb 15. The sold out, though only partially attended due to the weather, performance was held in the Bok Gallery and starred Gretchen Mol and Campbell Scott.
“Love Letters” is an epistolary play, meaning the story is conveyed through the letters exchanged between the two main characters: Melissa Gardener, played by Mol, and Andrew Makepeace Ladd III, played by Scott. The play begins at childhood and lasts until the characters are about sixty years old. With the performers reading letters back and forth, the staging is minimal—intimate lighting casts a warm glow over the two actors seated at a single table, where they remain for the entire performance. The Bok Gallery’s cozy setting enhances the play’s simplicity, making for an intimate and engaging experience.
Perhaps the most striking aspect of “Love Letters” is its pacing and flow, which Mol and Scott brought out fantastically. For the majority of the play, the actors simply trade lines back and forth as they read their letters. This back and forth is broken up through occasional bits of quick, heated exchanges, long monologues and gut wrenching silence as, for one reason or another, a character goes five or six letters without writing back. This difference in pacing is extremely effective, and ensures that the audience does not feel any sort of stagnation.
Of course this pacing methodology would mean nothing if not brought out and explored by the performers, who both tackled their respective roles with gusto. Gardener, played by Mol, is a very highly spirited individual who is often finding herself in trouble and living loose. Ladd on the other hand, played by Scott, is an English major who is quickly established as a bit more rigid and only able to accurately speak his mind through writing. As their lives develop and life’s many joys and tragedies hit them through the years, both performers brought out their personality shifts and outbursts wonderfully while ensuring they remained true to their original selves.
Although Gardener finds herself weary and lost as her art career fades and addiction rears its ugly head, Mol preserves a hint of the character’s former free-spirited playfulness in her letters. Despite becoming a Senator, traveling abroad, and starting a family, Scott balanced Ladd’s rigid and stiff demeanor with moments of openness in some of Ladd’s longer and more heartfelt letters. With a play so exposed and minimalistic, it lives and dies with its performers, and Mol and Scott certainly gave it life.
“Love Letters” at the Sharon Playhouse was a one night only performance, though “Sylvia”, also by Gurney, is slated for performance at the Playhouse August 29 to Sept 7.
Photo by Graham Corrigan
