The Antaeus Theatre Company's new production of Heartbreak House, which had its official opening last night, features a strong cast, including Elinor Gunn as Ellie Dunn, Harry Groener as Captian Shotover, Henri Lubatti as Hector Hushabye, Jocelyn Towne as Hesione Hushabye, Carolyn Ratteray as Lady Utterword, Arye Gross as Mazzini Dunn, Bernard Addison as Boss Mangan, Alex Barlas as Randall Utterword, Amelia White as Nurse Guinness, and Alberto Isaac as the unexpected guest. It is directed by Nike Doukas, who directed the fun 2023 production of The Tempest (which featured the great Peter Van Norden as Prospero). As the performance begins, Ellie is asleep on the couch, a book on her lap, only to be wakened by Nurse Guinness. But it seems she is wakened into a dream, or perhaps a nightmare. She says that it has surprised her that no one seems to have expected her, to which Nurse Guinness replies, "You'll get used to it, miss." The line gets a big laugh, in part because of Amelia White's wonderful delivery, but it's also a bit frightening, this idea of being invited to a place where no one expects you to show up, or acknowledges that you have, and where you shouldn't expect that to change. This production does a splendid job of establishing that sort of atmosphere. The lighting in the opening moments before Nurse Guinness' entrance, is one of shadows, like we are drifting into night. That twilight area, where most such nightmares and strangeness occur. The lighting design, by the way, is by Karyn D. Lawrence, and the scenic designer is Angela Balogh Calin.
The house itself is likened to a ship. Early on, Captain Shotover mentions how Ellie has been "deposited in the poop," At hearing that, Ellie glances around, as if to see what precisely he means. This adds to both the humor and the nightmarish vibe, having one's surrounding described in ways that make little sense to that person but are perfectly clear to everyone else, so that reality itself is questioned. Elinor Gunn (who was fantastic as Imogen in last year's production of Cymbeline) does a remarkable job as Ellie. And as outsiders too, we in the audience quickly relate to her, quickly align ourselves with her. Interestingly, when Lady Utterword, the captain's other daughter, arrives, she finds herself treated in a way similar to Ellie, with no one to welcome her, no one expecting her. And yet she says it is just the same as it was two decades ago when she left. That also adds to the peculiar vibe of the place, and fits in with the idea of progress being impossible without change. On her "grow old, like other people," Lady Utterword tries to take her father's arm, to show they are in the same boat, so to speak, but isn't quite successful, a really nice touch. And as in a nightmare, one's identity is under question. Lady Utterword is not recognized at first, or at least is not acknowledged as herself. And Mazzini Dunn is taken to be a pirate and thief and murderer named Billy Dunn. "I hope nobody here believes that I am a thief, a pirate or a murderer," he says at one point. It's just not a matter of being secure in one's own identity, but having it acknowledged, validated by others.
Hesione Hushabye, upon entering, is a delightful ball of energy, immediately recognizing and embracing her friend Ellie but not her own sister. Both Elinor Gunn and Jocelyn Towne are wonderful as they talk about Ellie's father and poverty. The book that Ellie was reading when she fell asleep turns out to be Othello, and so there is a discussion of jealousy, with Ellie opining that it must have been a wonderful experience for Desdemona to be with a man of adventures. Hesione offers that Othello was telling Desdemona lies, dishonesty being another important element in this story, with most of the characters engaging in one form of dishonesty or another. And around that time, Ellie admits that she is love with a man other than the one she's to marry. And interestingly, that man is full of lies himself, grand stories without truth in them. Even his name is a lie. To Ellie, he is known as Marcus Darnley. To Hesione, who is the man's wife, he is known as Hector. When Hector enters, the delivery of his line "I had no idea you knew my wife" is hilarious. And regarding the ability to love a liar, Hesione offers this nugget: "Otherwise there wouldn't be much love in the world." That line receives a great laugh. This scene, and nearly the entire play, provides continual laughter, but within that laughter and within those lines are some serious troubles.
During that discussion, Ellie suddenly blurts out, "There is something odd about this house." As I mentioned earlier, there is a dream-like quality to the play. Several characters at various times express a desire, even an intention, to leave the house, but not one does. Perhaps no one is able to, not even Mangan, who boasts that he is the sort of man who follows through on everything he sets out to do. The house is described as a boat, presumably controlled by Captain Shotover, but he walks in and out of the main room so often that we can't be sure. And the house itself seems to represent the country of England. Who is in control? Where is it heading? At one point, Hector says, "This soul's prison we call England," and again we think of Shakespeare, that line reminding us of Hamlet's declaration that "Denmark's a prison." And the line seems to make perfect sense, the house being a place that no one has been able to leave. In fact, there is an eerie feeling that the only way out might be through the dynamite that Captain Shotover stores. It is Hector who explains what it is for: "To blow up the human race if it goes too far." Again, it is a humorous line, and Henri Lubatti does a delightful job with it, but the human race certain did go too far during World War I. And so the play's lines about how life-saving devices won't bring in the kind of money that would an invention to wipe out half the population stand out to us. These lines and the presence of dynamite lead us to expect some violence before the end.
The entire cast is strong, everyone shining in different moments. Bernard Addison, for example, is especially good as Boss Mangan when explaining why he is not kind-hearted. It is the character you'd expect to be the least human, and so when he ends up being all too human, he is riveting. And Arye Gross is excellent when defending Mangan and when speaking of the strength of his daughter. It is in him that we see the most genuine affection and warmth. And there is a funny moment when he thinks he may have killed the instruder, funny after all his earlier insistence that he is not a murderer (but he was right; he isn't). And the intruder, played by Alberto Isaac, brings a different kind of humor to the house, a thief whose plan is to not really steal anything but to get caught. He is particularly good in his interactions with Nurse Guinness. Perhaps the most delightful performance is by Carolyn Ratteray as Lady Utterword, and she is especially magnificent in the scene where she manages Randall. I bet I missed some lines because of all the laughter of the audience. Alex Barlas, who did a wonderful job as Jim O' Connor in last year's production of The Glass Menagerie, is also quite funny in his "handling" scene. And at the center and heart of the piece is Harry Groener as Captain Shotever. Early on, he provides most of the humor, with a delightfully straight delivery of some biting and hilarious lines. And as the play goes on, he is the person Ellie turns to for advice. And thus so do we in the audience. We are drawn to him, in part because of Harry Groener's performance, even while we question his judgment, acknowledging, for example, the sad cynicism of his line "One rock is as good as another to be wrecked on." And also the truth of it.
This production of Heartbreak House runs through November 16, 2026. Visit the company's website for the complete schedule. There is one intermission. The theatre is located at 110 East Broadway in Glendale, California.
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