Theater Online - New York Theater Reviews

If Beckey Warder, the lovely protagonist and charming liar of Metropolitan Playhouse's presentation of the early 20th century comedy "The Truth," had heeded the words of Sir Walter Scott (namely: "Oh what a tangled web we weave, when first we practice to deceive"), she wouldn't have gotten herself into such hot water. But audiences would not have as much fun watching her manufacture plot-forwarding falsehoods in the once-celebrated Clyde Fitch's most mendacious-riddled play.

Clyde Fitch“ At the turn of the century-the one before last-American playwright Clyde Fitch was an international phenom (multiple hits in New York and London). He was extremely prolific (creating sixty-two plays) and a box office success (having four plays running concurrently on Broadway). "The Truth" originally opened at the Criterion Theater in 1907, was again presented on Broadway in 1914 and became a feature film six years later.

The action of the play takes place early in the 20th century in an elegant home in New York City and in a not-so-fancy boarding house in Baltimore. The time and places are wonderfully evoked by two creatively suggestive sets (Yvonne Opffer Conybeare, who also directs), lovely ladies' bustled costumes (Lillian Rhiger) and delightful period piano music composed and played by Evan Palazzo, who also serves as butler Jenks.

The excellent cast of eight carry the often humorous and also emotion-evoking story fittingly. Becky Warder (the enchantingly convincing Christy McIntosh) in an effort to reunite an estranged married couple (or just to be admired-something quite easy to do) has been having trysts with friend Eve's husband Fred. When Becky's spouse Tom (an often believably duped and sympathetic Jeff Pucillo) obtains what he regards as positive proof of his wife's infidelity, complications ensue. Becky's gambling and manipulative father Steve Roland (Peter Reznikoff with a strong but sometimes bombastic approach to his character) complicates matters as Beckey seeks his help.

In the end, there is a satisfying conclusion, despite some questions remaining for me about characters from the first half of the play who do not appear later on. The ultimate resolve between Steve Roland and his long-time female companion Mrs. Crespigny (Amy Smith) also seemed tentative. Nevertheless, "The Truth" is a worthwhile theatrical experience for anyone interested in getting a truthful glimpse of early American comedy, as well as enjoying some fine, honest performances