Review-The Voysey Inheritance (1.20.07)

The Voysey Inheritance (Saturday, 1.20.07)
Atlantic Theatre, New York City

By: Harley Granville Barker, adapted by David Mamet

Starring: Michael Stuhlbarg (Edward Voysey), Samantha Soule (Alice Maitland), Judith Roberts (Mrs. Voysey), Peter Maloney (George Booth), Fritz Weaver (Mr. Voysey), Steven Goldstein (Mr. Peacey), C.J. Wilson (Major Booth Voysey), Geddeth Smith (Rev. Evan Colpus), Tricia Paoluccio (Ethel Voysey), Rachel Black (Honor Voysey), Christopher Duva (Trenchard Voysey), Todd Weeks (Hugh Voysey)

Maintaining true to one’s moral center is difficult when one has to face the problem of balancing moral principles with taking care of one’s family. Such is the central premise of The Voysey Inheritance, which pits the morals of the younger Edward Voysey (Michael Stuhlbar), who learns shortly before his father’s death that the father has been improperly handling the firm’s accounts. After his father’s death, Edward decides he must continue to conceal this family secret, all the while attempting to make amends to the clients who have, without their knowledge, been bilked of their entire savings.

Voysey is faced, however, with a largely ungrateful family that is more concerned about its well-being, and with some difficult clients who, upon learning the secret, decide to attempt to blackmail him in order to save their own fortunes, even if at the expense of others. It is never quite clear whether Voysey is in fact being true to his own articulated principles, or whether he is simply talking the talk while doing something else. While there is nothing in Edward’s outer character or actions to suggest he is not being genuine, it is the trick of human nature that leads us to believe he may be deceiving us.

With this as the backdrop, Mamet’s new version of this classic play hops along at a quick pace. Mamet’s script is excellent – it is filled with humor and biting exchanges, and it is sufficiently ambiguous as to make us continually wonder if we really know what is going on. As Edward, Michael Stuhlbarg is quite good. His character is stilted and stiff, but there is a sense of question that he brings to the role that enhances the uncertainty.

There are several other quite good performances to accompany Mr. Stuhlbar’s, including Peter Maloney’s cantancorous George Booth and Steven Goldstein’s seemingly loyal but ultimately despicable Mr. Peacey. The ladies in the cast are also excellent, particularly Samantha Soule’s turn as Alice Maitland and Judith Robert’s fun portrayal of Mrs. Voysey.

The set is beautifully designed and fits appropriately in the Atlantic’s main stage. But it is Mamet’s script that crackles and pops to great effect. There is nothing dated about the Voysey Inheritance. It comes across as fresh and lively as it must have been the day it first premiered.