In spite of its Academy Awards and critical acclaim, I’ve never much wanted to see Terms of Endearment. Reading the old Roger Ebert review of the film does a far better job of changing my mind than the current stage adaptation at Theatre Charlotte, I can say that.
My working theory on tearjerkers is that I already know it’s sad when good people die young, sad that people allow petty differences to stand in the way of enjoying one another, and that sorrows and pointless conflicts are redeemed by moments — too few moments — of sweetness and laughter. Watching the 129-minute Hollywood version of these self-evident truths still doesn’t entice me.
The stage adaptation by Dan Gordon trims James L. Brooks’ 1983 screenplay, based on the novel by Larry McMurtry, to a mere 108 minutes at the Queens Road barn. No doubt some butchery was involved, for I can’t find serious fault with Chris Timmons’ cheery and versatile scenic design, Mitzi Corrigan’s direction, or the efforts of her cast. Can’t find the characters played by John Lithgow or Danny DeVito, either. Maybe McMurtry and Brooks were better judges of their worth.
Gordon starts with a scene so cinematically short that I couldn’t see its connection with the rest of the story. It’s useful for you to notice that the newborn Aurora Greenway is screaming at in the cradle is Emma. The next time we see Emma onstage, she’s being played by Gabriela Celecia and she’s at least 20 years older. Cynthia Farbman Harris as Aurora cannot age so radically so quickly, helping me to miss the passage of two decades. What Harris can do very well is retain Aurora’s imperious prissiness, her total self-absorption and her industrial-strength vanity.
These are wonderful traits for Celecia to play against as the normal wife and mother of three who hopscotches from one Midwestern locale to another with Flap, her college-teaching husband. Suffering the slings and arrows of Aurora’s patrician superiority, Maxwell Greger makes good on his scant chances to fire back. He’s also an effective Middle America edition of Don Juan. If James Dean ever became so humdrum that his utmost rebellion against propriety were sneaking kisses with one of his students, that Dean would look very much like Greger’s Flap.
But the juiciest pushback against Aurora’s dominion comes from Garrett Breedlove, a former astronaut whose ego outstrips his fading celebrity. He’s as open about his profligate ways as Flap is furtive and delights in offending Aurora’s elegance with his vulgarity. Why not? He still has the goods in the sack. Kicking, screaming and sputtering, Aurora is putty in his hands.
In an auspicious Theatre Charlotte debut, Vince Raye mixes charisma and conceit into this aging moonwalker — with a chunk of tenderness that took me by surprise. At his most impressive, Raye took up Garrett’s revelation that he still boasted friends in high places. If not, he certainly showed he could bluff a weak poker hand at a championship level.
By the time this happened, the drama had seemingly dragged on for seven hours, Emma had been diagnosed with Stage 7 cancer and the only chance she had at survival was to be admitted to a special clinical trial that was already closed to new applicants. Only Dr. Maise, the head of the hospital could make that happen, and Maise had no intention of being cowed by a mere astronaut with VIP connections.
To guard the gates against Emma’s last chance, Corrigan chose the formidable Tim Huffman, who has chewed and spit out scenery as Capt. Slank in Peter and the Starcatcher and as the thunderous Deputy Governor Danforth in The Crucible. This was quite a heavyweight confrontation, Raye’s celebrity cool as Breedlove pitted against Huffman’s towering dignity as Maise. I’m not sure which delighted me more, watching Raye coolly assailing Dr. Maise with Breedlove’s vicious threats or Huffman’s trembling capitulation.
Ah, but after that clash, the very sweet and likable Celecia had miles to go before Emma slept. Farbman had to absorb additional rebuffs and regrets as Aurora and learn additional lessons before she grieved. Let it be noted that costume designer Chelsea Retalic dresses Farbman beautifully during all her changes. When Breedlove leers at her, it is not for naught. There are also lighter moments between Aurora and Emma that allow Farbman respites from her hauteur and Celecia respites from her wholesome bland forbearance. Maybe three of them.