By Vicki Weisfeld
George Street Playhouse’s world-premiere stage adaptation of Midwives, directed by the theater’s Artistic Director, David Saint, opened January 24 and runs through February 16.
Chris Bohjalian’s 1997 suspense novel has sold more than two million copies, and at least two previous attempts have been made to take it from page to stage. For George Street’s version, Bohjalian himself takes on the writing task. That he’s more a novelist than a playwright may account for some of my difficulties with this production.
Sibyl Danforth (played by Ellen McLaughlin), a well-respected Vermont midwife, is attending the labor of Charlotte Bedford (Monique Robinson). On hand are Charlotte’s husband Asa (Ryan George) and Sibyl’s new assistant, Anne Austin (Grace Experience). It’s the middle of the night and an ice storm rages outside and the labor is not going well. Although Sibyl appears increasingly nervous, and Anne verges on panic, the midwife counsels calm. Finally, the situation deteriorates to the point that she agrees Charlotte should go to the hospital.
Unfortunately, the storm has knocked out the phone lines and the roads around the Bedfords’ remote farmhouse are impassable. When Charlotte falls unconscious, Sibyl believes she’s had a stroke. She cannot detect blood pressure or pulse. CPR proves fruitless. Faced with what she believes is a dead mother, Sibyl’s attention turns to saving the infant, using a kitchen knife to cut Charlotte open.
In Act Two, Sibyl is on trial for manslaughter. Anne maintains Charlotte was alive when Sibyl made the incision, and the state’s attorney (Armand Schultz) argues that Sibyl’s intervention killed her. Sibyl’s lawyer (Lee Sellars) says, on the contrary, she saved a life.
Throughout, you have the perspective of 14-year-old Connie Danforth (Molly Carden), daughter of Sibyl and her husband Rand (John Bolger). The events around Charlotte’s death and her mother’s trial are vivid in Connie’s mind almost a decade later, when she is a budding OB-GYN. While skipping around in time is rather easily handled in a novel, in a play it makes for some awkward scenelets. Especially puzzling were interactions between medical student Connie and Anne.
In ancient times, a sibyl was considered a witch, and, regrettably, the pursuit of Sibyl Danforth becomes a witch-hunt, which oversimplifies many issues and makes them less controversial. The play would have had a much-needed infusion of drama had it retained the novel’s final surprise as a surprise.
Bohjalian made another important departure from the book when he made Charlotte and Asa Bedford African American. A black preacher and his wife newly arrived in northern Vermont to serve a congregation of Q-tips (Charlotte’s description) shifts the social dynamic and raises unnecessary (and unanswered) questions.
The actors do a good job with the somewhat limited emotional range provided by the script. McLaughlin is stoic, Experience is a master of “I told you so,” and George is the most sympathetic when he declares he doesn’t want Sibyl punished.
Production credits to Shoko Kambara (sets), Lisa Zinni (costumes), David Lander (lighting), Scott Killian (composer, sound design), Charles G. LaPointe (hair and wig design), and Rick Sordelet (action coordinator).
Midwives is on view at George Street’s beautiful new home at the New Brunswick Performing Arts Center, 9 Livingston Avenue. For tickets, call 732-246-7717 or contact the Box Office online.