Hitchcock Blonde
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Aldrich, Matthews
Photo by Ken Howard
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By Joseph N. Feinstein
A MacGuffin is "a device used by Alfred Hitchcock by which a seemingly important plot-starting element turns out to have no real significance to the story as it unfolds."
Terry Johnson, in his most literate, exciting play, Hitchcock Blonde, now running on the Segerstrom Stage at the South Coast Repertory until March 12, uses that device beautifully to keep attention one place while the more important story is being told in another.
Johnson, who also directs, has assembled a splendid group of actors and an even more splendid group of behind-the-scenes associates in pulling off this excellent theatre piece. From the moment you step into the theater, William Dudley's masterful set captivates your attention, for you can see the bare outlines of film plus a stage of many exits and entrances in the form of walls with a pictorial background. It's a startling design which continues to stimulate your imagination throughout the two-and-a-half hour performance.
There are five characters portraying the story within a story. Dakin Matthews is Hitchcock with the same authenticity that was recently reported about Adrian Sparks as Hemingway in Papa. Matthews inhabits his character with a full-blast impersonation of voice, physique, and mannerisms that are perfectly intact. Sarah Aldrich, as The Blonde, makes her SCR debut, and it will be one to remember for both her dressed and undressed performance. Robin Sachs, also in his SCR debut as Alex, hails from England, and his rich, professional British
speech keeps us glued and listening as he unravels a most exciting story of riches and discovery to his worldly-wise student Jennifer, played convincingly by Adriana DeMeo. The Blonde's husband is played hauntingly by Martin Noyes.
While there is much ado about Hitchcock's casting methods and the Professor's discoveries, those turn out to be about nothing really important, hence the MacGuffin. For this is really a play about the older man/younger woman syndrome: the yearning, the ploys, the machinations used by the older, more mature male in convincing the beautiful, nubile female to venture into his trap.
With her, he becomes the seducer, the charmer, the creator of romance: his testosterone cup runneth over to his sheer delight and control. There are few men who approach those waning years who don't dream of such seduction. The methods used by Hitchcock and the Professor are doomed to backfire owing to the deceit and treachery employed. The unfolding of these scenes will remain unexplained and for your own personal examination when you see the play. Johnson has a few tricks up his very sharp sleeve which are guaranteed to keep you befuddled as well as delighted. After all, Hitchcock is definitely a part of the script.
The play first opened in London in 2003. It took three years to travel across the sea, but it was, indeed, worth the trip. I close with the quote by Lucretius: "Whilst what we crave is wanting, it seems to transcend all the rest; then, when it has been gotten, we crave something else." And that, my friends, is no MacGuffin.
Hitchcock Blonde South Coast Repertory 655 Town Center Dr. Costa Mesa 92628
Tel. 714-708-5555 Tickets $28 - $58 Tues. & Sun. @ 7:30 p.m., Wed. - Sat.. @ 8:00 p.m.
Sat. & Sun. matinee @ 2:30 p.m. Playing until March 12.
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