Eugene O'Neill gave birth to Desire Under the Elms in 1924, placing it in rural New England. The 1958 film version starred Sophia Loren, Anthony Perkins, and Burl Ives. Under director Randy Reinholz, the San Diego State University version, currently in the Experimental Theater, moves the action to rural Ozark Mountains and adds some excellent, story-telling guitar music.
The playwright brings the themes of classic Greek tragedy (revenge, lust, love, hate, greed, trust, murder, and the tragic consequences that ensue) to the American scene. The plot pits the three brothers (Simeon, Peter, and Eben) against their father (Ephraim), forming a formidable broth. Stir in the juices of brother against brother as Simon and Peter (from wife one) vie against Eben (from wife two). For spice, sprinkle in a very young wife three, Abbie, who beds Eben, becomes pregnant by him and claims it is husband Ephraim's. Throw in the field crops of the family farm's inheritor(s), and one gets a fatal soup.
I expect the very best out of the theatre departments of SDSU and UCSD, and I have yet to be disappointed. Andrew Hull's set has a dirt-poor raggedy feel. This is further enhanced by Sarah Leahy's drab gray-on-gray costumes. Even in a dance scene there is very little color in the women's wear and none in the men's. Ashley Johnstone provides subdued lighting, while Michelle Caron's sound design further enhances the mood.
Justin Hobson's Eben is near-perfect. His stature is such that the two older brothers, Simeon and Peter (Bobby Schiefer and Phil Kruse), physically intimidate Eben. One hopes he wore some padding. Unlike his farmhand brothers, he takes care of the house chores (cooking, cleaning, laundry, et al). He is wilier and much smarter, soon ridding the farm of his brothers to become the sole heir. His logic is shattered when his abusive father, Ephraim (Tony Quezada), returns home with a new bride and heir.
Quezada is a perfect contrast to Hobson; Ephraim must have a PhD in bullying making him a perfect villain. This is not the man you want to meet on a moonless night. Quezada proves, under choreographer Krysten Hafso's, that he can dance a jig with the best of them.
The fly in this over-seasoned soup is third wife, Abbie Putnam (Pamela Sevilla). The original acrimony between Abbie and Eben is almost violent. Soon, though, an unbridled passion develops. In many ways, this is Abbie's story as much as that of the three sons and their father. Sevilla's very presence on the stage commands it. Even as wild dancing progresses behind her, her sullen quiet rules. Her character is tragic; her portrayal is perfection.
This is an excellent production throughout. The move from 1928 rural New England to 1928 rural Ozark Mountains works well for O'Neill at his best and UCSD Theater at their
best a great combination.
