Myth-making is an oddly populist activity. Plain men (and women) creating tall tales about themselves or their ilk, such as Paul Bunyon or Johnny Appleseed, are boosted to greater prominence by the imagination.
The Hubbards in Lillian Hellman’s The Little Foxes, at MTC’s Samuel J. Friedman Theatre extended through July 2nd, are rich but simple folks who aggrandize themselves with their own form of mythologizing.
Ben Hubbard (Michael McKean), the elder of the cold-blooded tribe, is especially deft at inventing the stories of his family’s success against adversity. His younger brother, Oscar (Darren Goldstein) is equally vicious but hapless.
It’s their sister, Regina Giddens (Cynthia Nixon at the performance we saw; Laura Linney at alternate performances) who is the most ferocious and cruel-hearted romancer. She has lied to her brothers about the money her husband, Horace (Richard Thomas) will put up for their venture with Mr. Marshall (David Alford) of Chicago; she has spun an account of a future of glory in society for herself when they are all rich.
Oscar’s wife, Birdie (Laura Linney, alternating with Cynthia Nixon for this gem of a part), speaks her own narrative of sweetness and betrayal. She tells her story to Regina and Oscar’s daughter Alexandra (Francesca Carpanni) who can still be saved from the family curse of greed. Like Birdie, Addie (Caroline Stefanie Clay), the housekeeper at the Giddens’ home, has genuine concern for Alexandra. It is also Horace’s desire to protect his daughter from her mother and her uncles. He understands the evil they can cause. Alexandra, on the other hand, is not as fragile as her aunt Birdie; she has some of her mother’s steel mixed with her father’s kind heart.
Nixon is demonic as Regina. Linney is brittle as the delicate and damaged Birdie, who dislikes her son Leo (Michael Benz) even more than her husband. Rounding out the cast is Cal (Charles Turner); like Addie, Birdie and Horace, Cal cares for the few people in the household who are kind and decent.
Daniel Sullivan’s direction of The Little Foxes allows the plot to develop with style and at leisure. The costumes (by Jane Greenwood) are excellent; the gown Regina wears, for instance, is superbly elegant. Scott Pask’s scenery is sumptuous, drawing applause at curtain-up.
This classic tale of conniving avarice is beautifully ugly. Everything about this production of The Little Foxes is done to perfection.
For more information and tickets, please visit http://littlefoxesbroadway.com/
PS: We had seen a couple of earlier versions of Hellman’s dark drama, one of which was wonderfully abstract in its staging. That one was directed by Ivo Von Hove at New York Theater Workshop, and is worth noting for its pedigree. This Broadway production is worth seeing for its faithful adherence to Hellman’s vision and text, and the excellence of its execution of this Hubbard family history. There is no better reason to see The Little Foxes at MTC than the sheer perfection of this production.