Ari Brand and Robert David Grant

                                                                          Photos by Richard Termin

 

The Lucky One

 

                                           By Ron Cohen

 

Can a person be too charming?

 

That’s the dilemma facing Gerald Farringdon, the central character in A. A. Milne’s comedy drama The Lucky One, first produced in 1922 and now getting a sturdy revival thanks to the Mint Theater Company, New York ’s dedicated resuscitator of forgotten plays.

 

Milne is now known primarily as the creator of those lovable woodsy creatures, Winnie the Pooh and pals, but for a time in the Nineteen Twenties, the British writer was among the most popular playwrights on both Broadway and London ’s West End . The Lucky One is a tidy if not exactly strict example of what used to be known as “the well-made play,’ with its first-act exposition, second-act buildup of suspense and third-act resolution. It also embodies another once-popular feature, giving audiences a look at the privileged class enjoying their privileges and dealing with their anxieties.

 

Michael Frederic, Paton Ashbrook, Wynn Harmon, Robert David Grant, Mia Hutchinson-Shaw, Andrew Fallaize, Ari Brand, and Cynthia Harris

 

The anxieties here revolve around Gerald’s limitless charm and winning ways, which have fostered a hefty case of sibling rivalry with his older brother, the reserved and introspective Bob, often referred to throughout the play as “poor old Bob.” Gerald has always been the apple of the eyes of their parents, Lord and Lady Farringdon, and the sought-after teammate among their friends, while Bob moseyed about in his shadow. Gerald has landed an on-the-rise spot in the Foreign Office, while Bob labors as a partner in a small financial firm. In the latest unintentional effrontery, Gerald has wrested away from Bob the young lady he once brought up to the family’s country estate. Pamela, the lady in question, now is Gerald’s betrothed.

 

We also learn in the first act, set in the Farringdons’ country estate, that Bob’s business partner has been engaged in some shifty doings (they’re never quite explained) and has disappeared, leaving Bob holding the bag. Bob now is facing trial, and he seeks help from George. George demurs, not being sure as to how he could actually help. Nevertheless, it only deepens Bob’s resentment.

 

In the second act, Bob’s trial has ended, he has been found guilty and the Farringdons and Pamela are gathered in a London hotel room awaiting news of Bob’s sentencing. Then in a third act, back again at the Farringdon estate, things play out so that Gerald is left questioning as to whether all his charm simply masked a lack of soul.  Was it a detriment to his worth as a human being rather than an asset?

 

It’s a provocative question, hinted at often in the play, and the production, directed with appreciative efficiency by Jesse Marchese, will keep you interested in it and the characters involved, even if they never really grip you. Robert David Grant easily dispenses Gerald’s affability and looks dapper in Martha Haley’s period costumes, while Ari Brand is strikingly dark and moody as Bob. Paton Ashbrook manages to imbue some believability into the difficult job of portraying the fickle Pamela, whose affections seem to randomly ping-pong back and forth between the two brothers.

 

Paton Ashbrook and Robert David Grant 

 

A passel of solid contributions come from Wynn Harmon and Deanne Lorette as the brothers’ parents, Cynthia Harris as their crusty but wise grandaunt, Michael Frederic as the family lawyer, and Peggy J. Scott as a dedicated family servant. Andrew Fallaize and Mia Hutchinson-Shaw add some breeziness as pair of youthful family friends.

 

The set design by Vicki R. Davis, bordered by two large curving staircases, gives a rather formal look to the Farringdon’s country estate. With a few minor shifts in décor, it also doubles satisfactorily if not terribly convincingly as the London hotel room.

 

This unearthing of The Lucky One may not be the most fortuitous rediscovery in the Mint’s 22 years, but it’s nevertheless worthy enough.

 

Off-Broadway play

Playing at Theatre Row, the Beckett Theatre

410 West 42^nd Street

Minttheater.org

212-947-8844

Playing until June 25