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photo by eric chazankin

In the past, I often dreaded Mamet?Äôs repetitive text. I will not go into my distaste for his characterization of a certain type of gender in some of his other plays. But, Mamet’s “Boston Marriage” diminished my past sourness for his work. I find this piece to be the most engaging Mamet play that I have come across. It contains a juicy potpourri of well mannered, stylized wit and touches of pungent dry humor. As the characters exchange sentiments on the profound, they often collapse with comments such as ?Äúthis world is one big shit hole.?Äù It displays intelligence, yet candid ribaldry.

Santa Rosa 6th Street Playhouse (which I dubbed “the Berkeley Rep of the North”) presents Mamet’s flavorful masterpiece. In the Victorian era, the term ?Äúboston marriage?Äù commonly referred to two unmarried women who reside with each other. Such women were usually from upper class families and educated.

Danielle Cain performs the role of Anna, the femininely attractive, but alpha-female of the women. Cain delivers Anna?Äôs sharp and acerbic wit fluidly. Anna is a prize role for any actress. Cain captivates the audience with her stage presence. Costume designer, Pamela Johnson, adorns Cain in intricate and sexy gowns. The period pieces are accentuated with overlapping of lace. Cain is arresting on stage.

Her female counterpart, Bronwen Shears, plays Claire, the more passive-aggressive role. Her character tends to dress more in unattractive and practical attire. Mamet does not lend Claire the same strength that he has developed in Anna. Shears does take command in certain moments with brilliant lines.

The third role nearly steals the show. High School student, Tess Coughlin, plays Catherine, the Scottish maid. Coughlin does a great job with added nuances to her small, yet very essential role. Couglin distinguishes the maid?Äôs different attitudes with both women. She gives more loyalty to the powerful Anna. Claire experiences more audacity from the cunning maid.

Director, Sheri Lee Miller, has done a wonderful job in staging the movement. The actors moved in transition with the progression of Mamet?Äôs script. The set design gives a presentation of an apartment of feminine decor. Soft tones of beige mix well with the pastel pink bouquet on the main table. The furniture aptly suits the period. There are touches of red as well. The set invites us into the whole other world that belongs to Mamet?Äôs women. And Mamet has given definition and elegance to three female roles that are unforgettable.

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