Stage on Screen: The Women

i have read many of the comments here and i should like to add my own.

While i can see where there was room for improvement in some areas, over all this was good entertainment, and i will purchase a copy for later viewing.

all of the ladies play their parts well. the one thing i can say is that they all had a tendency to sing........... their words....... and that is where the improvements can and should be made. yes they are on stage and they had the need to project their voices so that those in the back may be heard. But speaking in clear tones from ones diaphragm does not require loud long.............. drawling singing words........

i do believe they had the right,(type casting), for the parts -the women did fit their roles, however, you could tell that a bit more live on stage experience is needed.

no, not tony award winning- but not a bomb either. good entertainment when all you want is to not think about your cares, and watch and listen in on others...........

Long popular with audiences and actresses alike, "The Women" plays as a ridiculous period piece today. The bitchy dialogue is fun for a scene or two, but eventually it becomes a case of diminishing returns. The story revolves around a group of idle society women gossiping, trading husbands, and gossiping about trading husbands. Clare Booth Luce's attitude toward her characters is an enigma: one moment she's clearly ridiculing their idle pettiness, the next clearly admiring their resilience in a powerless state. This production of the play is a high-quality one; the only casting complaint I have is Kristen Johnston. While she's undeniably both a comedic tornado and a good actress, she overwhelms her part here. Best among the cast is Jennifer Coolidge, who has become one of the most important comedic character actresses in Hollywood today. All this talent is pretty much wasted in this fluff piece, however; even viewed as an artifact of a different time "The Women" is of no great impact.

What a delightful surprise dusting off this furry warhorse after so long. This taped version of the Roundabout Theatre's 2001 stage production works remarkably well under the obvious constrictions. The camera work is clean and expedient, the outré costumes glorious, the hairstyles period-perfect, the sets fun and functional, and the performances frisky and stylish.

Claire Boothe Luce's stinging all-female play `The Women' was first filmed in 1939 and starred MGM's crème de la femme at the time: Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, Mary Boland, Virginia Weidler, etc. It's a wickedly cherished film that deftly chaffs at the idle rich (well, the idle FEMALE rich anyway) for all it's worth. A stage version is rarely seen these days due to the Luce estate, which is very protective of this property, and because of its enormous (ergo, expensive) cast, which has 24 women performing 36 roles.

Off-putting to some in that it continually punches home the fact that a woman's station in life at that time was to marry money and breed, Luce portrays her gadflies as little more than brainless, vindictive, status-seeking gossips who have absolutely no purpose in life outside marriage. Lying, cheating husbands were better than no husbands at all. Luce's contempt for the 30s woman is quite obvious. In fact, she was even accused of misogyny after writing this satire! The focus instead should be directed squarely on the delightfully sharp, acerbic dialogue, the incendiary characters, and the terrific interplaying of its distaff cast. It's amazing how well everything holds up after all these decades.

Though the performances are a mixed bag, nothing detracts from the overall fun to be had. Cynthia (`Sex and the City') Nixon heads the cast as that noble sufferer Mary Haines whose husband has been led astray after a solid decade of marital bliss. Highly appealing, Nixon effectively overrides the more treacly scenes (and she is given a few), while her quivery voice has an interesting Billie Burke ring to it. She gives the piece a strong center of gravity while justifying the more melodramatic intrusions in the play.

But it's the bitchiness, the cattiness, and the empty attitudes and platitudes that everyone wants served up. And, boy, do they ever get it! Kristen (`Third Rock from the Sun') Johnston as Nixon's `best friend' goes for broke in the hilariously gabby, astringent Roz Russell role. With her pearl-handled guns drawn, she draws instant blood while imposing a panther-like frenzy on the proceedings. Her antics are as wonderfully over-the-top as the Hedda Hopper-like headgear she gets to flaunt. She succeeds in putting her own indelible stamp on this wacky blueblood.

Jennifer Tilly, in the Joan Crawford role, has her scathing moments too as homewrecker Crystal Allen, especially while trading delicious barbs with her competition (Nixon), but she is far, far too obvious as the counter girl out to sleep her way into nouveau riche society. In a one-note performance, Tilly's screechy voice is so unappetizing, her nastiness so brash and her intentions so transparent, it's hard to believe any man would be foolish enough to tangle with her. Nothing subtle, nothing enticing, nothing clever...nothing special.

Give it up, however, for the incredible Jennifer (`Best in Show') Coolidge who induces laughter with every groan and grimace. Looking like she just ate a barrelful of persimmons, her grumpy, feather-brained socialite steals the limelight whenever she's on. An excellent comedy farceur, Coolidge has a series of uproarious moments, the best being her postpartum hospital scene following the birth of her fourth child. It's priceless.

In somewhat lesser roles, Rue McClanahan is quite marvelous as the flighty, French-spewing, love-hungry, often-divorced countess, while Mary Louise Wilson offers the perfect cutting edge as Nixon's all-knowing mother. But Hallie Kate Eisenberg (from the Pepsi commercials) is woefully wrong period-wise as Nixon's precocious daughter. It's an annoying, thankless part to begin with but she doesn't help things with her joltingly contemporary performance. As for the rest of the large cast, including the downstairs help (Heather Matarazzo and Mary Bond Davis), all are given the chance to shine.

The show moves at a fast clip and the jokes are rippingly fun. Most surprising is how coarse and risque the original play was. The 1939 version was obviously softened quite a bit to get past the censors. Here, they get to go for the throat. By the way, in 1956 there was a filmed MUSICAL remake called `The Opposite Sex' starring June Allyson, Joan Collins, Ann Sheridan, Dolores Gray, Agnes Moorehead, Ann Miller, and the wonderful, wonderful Alice Pearce as the loose-tongued manicurist. This interesting but misguided feature chose to give life to the husbands (Leslie Nielsen, Jim Backus, Dick Shawn, among them), which diminished its impact. Still, you might want to give it a once-over just for comparison's sake.

Most of the criticism of this production seems to center on the lack of subtlety of the actresses. Were the production a film or television show, I might be inclined to agree, but this was a stage production and meant to be seen by an audience some fifty or more feet away.

I thought the performance good, though its script is dated in its outlook on women and their reliance upon men. The characters are stereotypes and obviously were written to be just that way. The actresses play them with gusto, and the audience's reaction indicates that the performances went over well in that theater - although I agree that Tilly's brassy and nasal portrayal of the 'other woman' left me wondering why any man would be interested in her Crystal for anything more than a quick fling.

The close-up camera work for this video production doesn't do the show justice as the actresses are not playing for a camera, and the video audience therefore sees only the "over-the-top" look of these women projecting for a theater audience.

I thought it would be good to actually see the play from which the 1939 movie was made and it was a good exercise in better understanding adaptations. Other than that it was a big disappointment! I understand the mediums of stage and TV and movies are profoundly different, but, in the end, they all need to entertain us and this version was about as entertaining as watching an embroidered tea towel dry-- you can admire the stitching, but it's still only a tea towel, and a wet one at that.

I found myself longing for the movie version which had better acting and, surprisingly, better lines. The play was overly long and poorly constructed and, with few exceptions, the acting was either one-note-- and a shrill, breathy note at that from our lead, Mary Haines-- or one-gag (Edith might have been tired of being pregnant all the time, but not as tired as we were!) Even the minor characters with one moment to shine were dull and, again, with a few exceptions, forgettable.

The one bright light in this time-waster was seeing how handily Jay Sandrich directed the TV filming of a stage play-- just the right combination of group scenes to closeups. And the stagecraft, too, was topnotch! But neither of these could raise this version beyond "adequate."