Major Barbara
In Major Barbara, George Bernard Shaw spells out his views about war and religion in fire-and-brimstone terms that would do the Salvation Army credit. Christmas aside, the play could hardly be more timely. Its assaults on sanctimonious organized religions and on the notion that adversity builds character seem aimed directly at the Bush administration, which makes indifference to the poor a fine art while loudly professing its Christian virtues. The script’s clear-eyed views on war–especially the resonant claim that “Nothing is done in the world until men are ready to kill if it is not done”–makes a refreshing change from Pentagon propaganda, while Shaw’s dismissal of flag-waving sounds almost seditious in a post-September 11 world. And Remy Bumppo makes sure the arguments in this startingly current play come through with the clarity of a ringing bell.
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Much of the problem is Barbara herself. Susan Bennett is a capable actress, but her Barbara seems a quixotic fool instead of a thoughtful, powerful person trying to walk the walk. On the page, Barbara is magnetic: confronted by skepticism, she never says what’s expected–and she’s all the more persuasive for that. But Bennett exhibits none of that irresistibility. No wonder she’s stymied by an immovable object like her father. David Darlow, whose sly unflappability is perfect for undermining others’ beliefs, nails Undershaft’s quick-wittedness. But he doesn’t convey the passion that makes the character insist on unpopular ideas and engage in contradictory conduct. (And on opening night, Darlow was still struggling with his lines, which must have been as distracting to him as it was to the audience.)
