Past Reviews

Regional Reviews: Boston

Rich Girl
Lyric Stage Company


Amelia Broom, Sasha Castroverde, Joe Short
and Celeste Oliva

The Lyric Stage Company of Boston is presenting the New England premiere of Massachusetts native Victoria Stewart's Rich Girl, a contemporary version of The Heiress which swaps a high-powered, controlling mother for the film's emotionally abusive father of a plain Jane being romantically pursued by a struggling artist. Could the former big man on the high school campus be genuine in his ardor, or is his heart attracted to her purse strings? Discuss.

With the parental gender switch, Stewart delves into the mother-daughter dynamic, but Eve (Amelia Broom) is more Mommie Dearest than Little Women, choosing tough love tactics to make Claudine (Sasha Castroverde) strong and independent, while eschewing any semblance of warmth or esteem-building platitudes. As a self-made woman in the manner of Suze Orman, Eve has her eye on the prize of financial security and wants to be sure that Claudine follows in her hardened footsteps. To groom her in her own image, Eve gives Claudine a position in her foundation and orders her to say no to the first 100 applicants seeking funding.

Despite her clumsiness and shyness, Claudine stumbles her way through her internship with the able encouragement of Eve's right hand Maggie (Celeste Oliva), but her anxiety is heightened as she faces a meeting with Henry (Joe Short). Now the artistic director of a small theater company in need of a benefactor, Henry was the popular hunk in Claudine's high school who probably didn't know she existed. After she rejects his pitch for money from the foundation, to her surprise, he shows an interest in her and (cue the broom) proceeds to sweep her off her feet.

Short is smooth and confident with an undercurrent of vulnerability, making it hard to decipher whether his character is really into Claudine or has a dastardly ulterior motive. Of course, Eve is suspicious from the start and pulls no punches as she warns her daughter that there's no reason for Henry to be interested in her other than for her money. Ouch! Broom delivers her lines with malevolence dripping with relish, and employs a stiff, regal posture to show she's in control of every situation. By contrast, Castroverde physically shrinks in the shadow of her mother, but gradually unfolds in the glow of the blossoming romance, revealing an inner beauty and strength previously hidden under hideous fashion choices and long, purple tresses.

Stewart allows Eve to indirectly deliver her philosophy of life by placing her in front of a studio audience, but each of her speeches is connected to what's happening at home. She is a callous character who never softens and communicates with her daughter by didactic lectures, or through Maggie as a medium. Oliva is totally relaxed and natural in the role, serving as the glue that holds the disparate characters together. Much of the humor in the play comes through her, and Maggie is the most likable of the quartet, perhaps because she is the only one without an agenda.

Stewart could probe deeper into the relationship between mother and daughter to give greater legitimacy to her choice to replace the father with the mother, but it does feel contemporary for her to be the powerful celebrity financial guru touting pre-nups and independence for women. The first act flags in the middle, but picks up steam when the conflict between Eve and Henry flares as a result of revelations at a Christmas gathering and Eve succeeds in her plan to separate the couple, albeit temporarily. Events proceed with greater speed in the second act as each character undergoes a transformation, leading to an ending with a twist.

Director Courtney O'Connor keeps things moving along nicely (except for that little pothole in act one) and builds the tension to keep us guessing at the end. Scenic designer Brynna Bloomfield's vision for Eve's New York apartment is fittingly chic and Chris Bocchiaro's lighting creates different moods, as well as distinguishing the home from Eve's public speaking engagements. Brendan F. Doyle gives the latter authenticity with sounds of applause and audience murmurings. Costume designer Mallory Frers displays Eve's power in her stylish, sleek attire, helps to convert Claudine from shlub to self-made woman, and drapes Henry with a theater artist's de rigueur scarf. In Rich Girl, what you see ups the ante, but the script needs further investment.

Rich Girl, performances through April 26 at Lyric Stage Company, 140 Clarendon Street, Boston, MA; Box Office 617-585-5678 or www.lyricstage.com. Written by Victoria Stewart, Directed by Courtney O'Connor; Scenic Design, Brynna Bloomfield; Costume Design, Mallory Frers; Lighting Design, Chris Bocchiaro; Sound Design, Brendan F. Doyle; Production Stage Manager, Natalie A. Lynch; Assistant Director, Erin Schwall; Assistant Stage Manager, Megan Otteson

Cast: Amelia Broom, Sasha Castroverde, Celeste Oliva, Joe Short


Photo: Mark S. Howard

- Nancy Grossman