‘Heiress’ Is True to Literary Legacy

At one point, shy and plain Catherine Sloper meekly asks her father, “Did I disturb you?”

Dr. Sloper’s answer is curt, clipped and brutal: “You are not a disturbing woman, Catherine.” This is the core of Henry James’ novel “Washington Square”--Catherine’s fear and loneliness, and her father’s inability to comprehend that she will never be the fascinating, witty woman her late mother was.

Ruth and Augustus Goetz adapted James’ novel for the stage as “The Heiress,” and when it opened on Broadway in 1947, it became sort of an instant American classic, which is being revived by the Theatre District in Costa Mesa through mid-August.

The period ambience (1850) is warm and sentimental, the conflict between the two Slopers the stuff of rich drama, and the star-cross’d lovers, Catherine and young Morris Townsend, icons from classic tragedy.

Catherine has already received $10,000 from her mother, who died when Catherine was born. She will receive an additional $20,000 from her father’s will. She is very rich. And Morris is a “gentleman,” unfit for most employment, and quite without money.

Dr. Sloper sees through the young man’s plans. Although his bitterness derives partly from the differences between his daughter and his wife, he does want to protect her.

All three are naive and have self-serving but honorable intentions, but they are unable to free themselves from the intricate character flaws that have been eating away at them away for years. These central figures in the play are very difficult and complex, and finding actors that can bring them to life is no easy task.

*

In this production, director Mario Lescot has lucked onto the right actors for this revival, including those in the supporting cast.

He brings to the piece exactly the right sense of period and balances the performances with a delicate hand. James wrote his novels like symphonies, and that musical quality is retained here.

Lorianne Hill, as Catherine, and Christian Holiday, as Morris, do more than recreate the Catherines and Morrises of the past. They each bring something fresh to the roles.

Hill has a subtle strength beneath her shy and unsure surface from the beginning, which helps to build slowly toward the power Catherine must have in the play’s final moments.

Even though Morris’ intentions toward Catherine are obvious, Holiday’s unequivocal sincerity when courting her almost makes one believe that it isn’t strictly the money he’s after, that he might grow to love her.

*

In the equally difficult role of Dr. Sloper, who is torturously overbearing with his daughter but who needs a modicum of sympathy to be believable, David Rousseve is excellent--starchy and blunt, although the way he rarely looks at the other actors, speaking his lines into space, is at moments disconcerting and less affecting than it could be.

Karen Mangano is charming and has the right fussbudget giddiness as Sloper’s sister, who helps Catherine plot her failed elopement. Alice Ensor shines brightly, with fine detail as Morris’ sister Mrs. Montgomery, who arrives to tell the doctor about her brother’s qualities.

Regan D’Lyn is funny and just right as the Irish maid Maria. The supporting cast--Bill Forant as Morris’ cousin, Deborah Kissinger as another of Sloper’s sisters and Lynette Deveraux as her daughter--provide on-the-nose cameos that fill out this winning portrait of a time gone by.

* “The Heiress,” Theatre District, 2930 Bristol St., Costa Mesa. 8 p.m. Friday-Saturday, 7 p.m. Sunday. $15-$20. Ends Aug. 14. (714) 435-4043. Running time: 2 hours, 50 minutes.

Lorianne Hill: Catherine Sloper

Christian Holiday: Morris Townsend

David Rousseve: Dr. Austin Sloper

Karen Mangano: Lavinia Penniman

Alice Ensor: Mrs. Montgomery

Regan D’Lyn: Maria

Deborah Kissinger: Elizabeth Almond

Bill Forant: Arthur Townsend

Lynette Deveraux: Marian Almond

A Theatre District revival of Ruth and Augustus Goetz’s stage adaptation of Henry James’ “Washington Square.” Directed by Mario Lescot. Scenic design: Two Blue Chairs Inc. Lighting design: Extended Visions. Sound design: David Podley, Bonnie Vise. Costume design: Joan Lescot. Stage manager: Sharon Evans.