On the eve of St. Valentine's Day, Milwaukee's Chamber Theater dishes up a delightful helping of English trifle in the form of 84, Charing Cross Road. The play is based on the real-life writings of New York scriptwriter Helene Hanff. Its title is based on the address of a London bookseller's shop (more about this below). Charing Cross is something of a signature piece for the company, as it was first performed in 1982. Chamber Theater has revived it several times over the years, always with the same two actors portraying the main characters. In one corner is Ruth Schudson as writer Helene Hanff. Her love of English literature causes her to inquire about purchasing some used books at London's Marks & Co., located at 84, Charing Cross Road. Frank Doel, a senior member of the bookseller's staff, receives her initial letter. He responds in a somewhat brusque manner at first, although he indeed produces some of the copies Helene requests. Since the time frame of this play is1949-69, this trans-Atlantic conversation (and, over the years, it does indeed become a conversation) is handled via written correspondence. Remember correspondence? Writing words on paper - by hand? Although virtually unknown in this modern era of e-mail, faxes and cell phones, correspondence was once the only economical way to transfer information across the Atlantic Ocean. For this reason, the play takes on an added tinge of nostalgia (some nostalgia is already built into the script, if one considers the frequent references to World War II).
Montgomery Davis, the company's artistic director and also the director of this production, gives Frank Doel's character a superb grace. Schudson and Davis are old hands at this game, and they revel in the richness of their exchanges. Both actors are brilliantly adept at "reading between the lines," as it were. Initially, they give their characters a few rough edges that are expertly worn down over the course of the play. Although Davis' character is married with children (Schudson remains single), their exchanges become more and more intimate over the years. Helene unexpectedly sends a gift package to the entire bookseller's staff, as her own personal statement about scarcities caused by the war. Her generosity is all the more astonishing given that she lives a fairly meager existence. The surprised and delighted London recipients entreat Helene to come for a visit. Frank's letters are soon supplemented by secretive reports from various members of the small bookseller's staff. They are quick to express their gratitude for Helene's offerings.
Of the three actors who portray these characters, Jane Hannemann shines the brightest. She fleshes out an underwritten book clerk named Cecily to the point where Cecily's sudden departure to another part of the world makes the audience wonder when (or if) she will reappear later in the performance. In this way, Hannemann makes a memorable jewel out of a relatively small role. Julia Gilling and Marcus Truschinski also do a fine job. As for the two main characters, it might have been wise to update their ages. Sadly, neither f the actors will see 50 again (much less the 40s they portray for most of the play).
Anyway, those who love the written word will find full enjoyment in 84, Charing Cross Road. The play takes place on a lovely set by Designer Carl Eiche. He cleverly separates Helene's shabby New York apartment from the antiquarian grandeur of the English bookseller's shop. He visually reminds us that words -- and books -- are literally the foundation on which these two characters get to know each other.
The lighting is a perfect complement to the set, drawing the audience's attention to certain areas of the stage. The costumes and intimate setting of a small theater further enhance the play's unique charm.
