Heartbreak House Review REVIEWS

Opening Night:
Closing:
Open Ended

Theater:

Synopsis: 

HARTFORD — Even in ordinary productions of George Bernard Shaw’s “Heartbreak House,” the arrival of Boss Mangan in the middle of the first act changes the temperature of the play completely. Up to that point, Shaw has been busy exposing us to two breeds of ineffectual English elites, circa 1914: the cultured but idle bohemian class, represented by Hesione Hushabye (partly based on Virginia Woolf), and the horsy, empty-headed aristocracy represented by her sister, Lady Utterword. The bohemians have souls, the aristocrats power, and neither knows what to do with them.

Mangan’s entrance introduces a new and loathsome figure to these late Edwardians: the “practical business man.” He is, Shaw writes in his preface, one of those “poor devils” who became rich “by placing their personal interests before those of the country” and thus proved “not only that they were useless for public work, but that in a well-ordered nation they would never have been allowed to control private enterprise.”

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Heartbreak House BROADWAY REVIEWS

  • NY TIMES

  • Opening Night:
    October 11, 2006
    Closing:
    December 17, 2006

    Theater: American Airlines / 227 West 42nd Street, New York, NY, 10036

    Synopsis: 

    The play follows the unlikely romantic encounters that occur in an estate on the English countryside. Romance springs ever eternal but never mutual, and the most successful relationships have the least to do with love.

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  • NEW YORK TIMES REVIEW OF Heartbreak House

    British Gentry, Fiddling While the Abyss Looms

    Charles Isherwood

    October 12, 2006: The time will soon be ripe for fresh political leadership. With a presidential election just a couple of years away, we need to start looking for viable new candidates, fellows with those outside-the-Beltway views voters are said to cherish.

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