Queen Lucia
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The triumph of Benson’s novels is not that they amuse–which they do, relying on the well-worn device of deflating the pompous–but that he makes us fond of his frivolous creatures and their little stunts. Tirelessly energetic, insufferably snobbish Emmeline “Lucia” Lucas is at the top of the social hierarchy in the little town of Riseholme and fancies herself solely responsible for its cultural enlightenment. Luckily for her, it’s a small place where everyone is just as intoxicated with Lucia as she is with herself. Most intoxicated of all is her devoted adjutant Georgie Pillson, a fop who fills his days with needlework and piano duets beside his beloved monarch. The novel that Lifeline has adapted also features an opera singer, the genuinely kind and talented Olga Bracely, who moves to Riseholme and starts getting a lot of attention–even from Georgie, who develops a bit of a crush on her, inciting Lucia to war. Lucia and the other inhabitants of Riseholme have an indefatigable, childish zest for life that endears them in spite of their ridiculousness.
Music plays a prominent role in Riseholme, which gives Lifeline composer-lyricist George Howe plenty of opportunities for parody: somber recitatives, operetta-style waltzes. For good measure he throws in jaunty Tin Pan Alley-style numbers, tongue-twisting Gilbert and Sullivan-esque patter, even a little jazz. Delightful if derivative, these keep the show floating on air. A few tunes, however, send it thundering to earth. The score’s two or three heartfelt love songs ring false in a world where sincerity has no place. Worse still is Georgie’s self-searching solo late in the evening, “Little Life,” in which he indulges in some unwarranted analysis of his motives for remaining in a backwater. The moment is not only inconsistent with Georgie’s general obliviousness but introduces an unwelcome gravity and even gloom.
Where: Lifeline Theatre, 6912 N. Glenwood
Art accompanying story in printed newspaper (not available in this archive): photo/Suzanne Plunkett.
