Not since the Milwaukee Repertory Theatre staged a sparkling production of Sam Shepard's "Buried Child" in 2001 has there been such a wondrous blend of talent and storytelling on the Stiemke Theater stage as one finds in Intimate Apparel. Lynn Nottage's play is exquisitely written, expertly directed and beautifully performed by a talented cast. As the curtain opens, one is immediately swept into the world of black society in New York City, circa 1905. The play focuses most specifically on the threadbare apartment of Esther, a homely, single, middle-aged woman who cares not a lick for her own appearance. Instead, she pours all her artistry into the lovely intimate apparel that she sews for stage celebrities and society women. Esther has a deft hand and a keen appreciation for the vibrant satin, handcrafted lace and beadwork that go into her fancy finery.
Kind-hearted Esther also makes some copies for a black prostitute she has befriended. She fits easily into many diverse worlds -- the elegant boudoir of Mrs. Van Buren, a wealthy, lovely social climber; and the gaudy brothel of Mayme, her black-skinned friend. Amusingly, each expresses a desire for what the other has. The uptown wife yearns to visit the Tenderloin, and the prostitute, a talented pianist, longs for a classical music career. The contradictions continue through this deftly woven story.
Another prominent member of Esther's world is Mr. Marks, a sweet, gentle fabric merchant. Although he's an Orthodox Jewish immigrant, Esther has more feelings for him than she lets on. They trade tender words -- not about each other -- but about the fine fabrics that Mr. Marks has purchased especially with Esther in mind.
Although smaller in scale than the monumental musical, Ragtime, it treads some of the same territory.
Lynn Nottage's award-winning play is drawn from her own history. Her great-grandmother was a seamstress who specialized in the same type of work Esther pursues. Plain and deeply religious, her family thought the girl would never marry. She eventually did, which leads to the play's bittersweet conclusion. Like her real-life counterpart, Esther keeps a dream of marrying alive in her heart. However, she brushes off the obvious matchmaking attempts of her older and wiser landlady. Instead, the sensible Esther pins her romantic hopes on a letter that suddenly appears out of nowhere. It's from George, a worker on the Panama Canal who somehow has gotten Esther's name. Esther would like to correspond but, illiterate, she despairs. However, both Mrs. Van Buren and Mayme come to the rescue and put their own fantasies on paper along with Esther's. The elixir works. Within months, George is sailing to New York to marry the unseen Esther. Esther's landlady expresses her fears for the worst. She reveals to Esther the tradeoffs she made to assume ownership of her rooming house.
Esther does have a fall-back plan, however. It involves opening a beauty shop for black women. She has been scrimping and saving for 18 years in order to reach her goal. But George's arrival signals a dark turn in the play's events. Not only is Esther disappointed in marriage, she cannot sustain the other relationships in her life that have been her anchor for so many years.
Actor Velma Austin is so life affirming in the role of Esther that the audience immediately roots for her. With few words or gestures, Austin completely inhabits Esther; her posture, or her ever-changing expression, convey all the audience needs to know about this strong, simple soul. Austin demonstrates how easily Esther brightens the world of everyone she touches: rich or poor, male or female.
Although Elma Austin is the play's heart, the small supporting cast is also terrific. There's Olivia Dawson as the prim but tender landlady; Heather Prete as the curvy blonde society wife who practically flutters about her bedroom like a dove in a cage; Tyla Abercrumbie as the seen-it-all prostitute who drinks away memories of her past; Kevin McKillip as the reserved, respectful Jewish merchant; and Carl Cofield as George, the rough-and-tumble field hand who finds little to like in New York except women and gambling. Although George is presented as somewhat of a villain by the playwright, even he evokes some sympathy. The characters' interwoven stories unfurl on a cleverly constructed set, in which pieces of scrim are raised and lowered depending on the scene. When the light fabric is neatly rolled up, it mimics the real fabric that comprises Esther's livelihood.
Lighting is soft, perhaps indicating the scarcity of electricity. The costumes range from Esther's simple attire to party dresses and the knock-out gorgeous satin teddies that would put a Victoria's Secrets model to shame.
Music casts the appropriate mood, from hymns sung by an African-American gospel choir to the era's jazzy ragtime piano tunes.
