. . .don't you ever feel that you've wasted yout life, just as if you'd taken it and poured it down the drain?.— Cornelius to Biddle who's much more able than his longtime employer to accept life as it comes.
They can't have closed everything up, so that we're all like bees in a glass case. It's unthinkable.. — the always questioning Cornelius, this time all shook up about the desperate situation an ex-army officer finds himself in at the height of the Great Depression.
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Alan Cox as the title character in
Cornelius
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J.B. Priestley ( 1894 —1984), is one of my favorite British novelists, short story writers and dramatists. While his most famous and successful play,
An Inspector Calls, hasn't been revived in New York since a successful 1995 Broadway production, other plays by him do turn up occasionally and I wouldn't miss a chance to catch anything with his name above the title, even if it's not on a par with his big hit. The most recent such opportunity dates back five years to the Mint Theater's revival of
A Glass Cage Happily, another Priestly play,
Cornelius has now landed in New York.
This play about a British import company's obsolescence in the face of a changing business practices and the
Great Depression, is a highlight of this year's Brits Off-Broadway Festival. Like
An Inspector Calls, it was written for Sir Ralph Richardson but the play does not need a world renowned star to bring fresh life to the play's title character, one of the partners of the firm in its death throes.
Over the course of
Cornelius's three acts (or as they are sometimes referred to,
A Business Affair in Three
Transactions, Alan Cox portrays the title character with dash and subtlety. He lets us see an ebullient, self-confident man become
increasingly less confident and more reflective. As we watch the cracks penetrate his bravado, like age lines on a maturing face, our hearts go out to him as he makes a last ditch attempt at romance and
final battle to deal with the question of what to do with the rest of a life he now considers to have been misspent.
But, while Cox, is the central figure, all the actors (and this is satisfyingly large cast) do topnotch work, playing more than one role. Except for Pandora Colin who now plays Miss Perrin and Alex Bartram who's taken over the small but important part of Eric Shefford, this is the same cast that our London critic, Lizzie Loveridge, last year reviewed at the Finborough Theatre. In fact that entire production has crossed the pond.
The 59E59 complex is more slick and modern than the quaint
Finborough (Check out the picture in the program), but the Main Stage has been transformed perfectly into the Offices of the bankruptcy bound London office of Briggs and Murrison in 1935, the height of the world-wide Depression. It's an old fashioned setting but like so many plays set in this era,
Cornelius, is not just look back on th well-made 3-act play, but more timely than one would wish it to be.
Given that this is the same production reviewed last year, Lizzie Loveridge's review still sums up its details and strengths. I'm therefore reposting her review below the production notes and end my own remarks with this advice: Go see it while you can.
Original Review
Production Notes
Cornelius by J.B. Priestley
Directed by Sam Yates
Cast Emily Barber (Judy Evison), Alex Bartram (Eric Shefford), Robin Browne (Mortimer/Little Man), Pandora Colin (Miss Perrin),
Alan Cox (Cornelius), David Ellis (Lawrence), Andrew Fallaize (Ex-Officer/Dr. Schweig), Col Farrell (Biddle), Beverley
Klein (Mrs. Roberts/Mrs. Reade), Jamie Newall (Robert Murrison), Xanthe Patterson (Young Woman), Simon Rhodes (Prichet/Coleman)
Design: David Woodhead
Composer: Alex Baranowski
Lighting: Howard Hudson
Stage Manager: Jess Johnston
Running time: Two hours and 15 minutes, including one intermission after Act 2
From 6/04/13; opening 6/11/13 closing 6/30/13
Reviewed by Elyse Sommer at June 4th press preview