"A refined, rueful and often shrewd comedy about polyamory, written decades before open relationships were quite so openly discussed...Under the polished direction of Bank, its arguments remain provocative, while its structure feels familiar, its tone decorous...It is often very funny; it is also very nearly a tragedy...What is extraordinary about Malleson is his ability to create characters who are capable of feeling several things at once, or who don’t really know what they’re feeling at all."
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"Malleson’s bio suggests a life story considerably more colorful than the tidy marital drama that unfolds onstage...The script offers a scrupulous examination of two warring impulses: the urge to explore versus the instinct to nurture and protect. Happily, we’re spared the wink-wink prompts of farce, though Malleson does allude to an extremely vulgar adage of the day, sanitized here as 'Fresh kiss, fresh courage.' If only he had applied that tenet to his rather dry disquisition."
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"Max von Essen and Elisabeth Gray do an admirable job portraying the seesaw emotions of the convention-bending pair, but Malleson's uneven script makes us wait until the final act for a dramatic payoff...The earnest plot, unfortunately, begs for a more comedic treatment. Director Jonathan Bank squeezes in a few chuckles now and then, but this is far from the smart comedy it could have been...Still, 'Yours Unfaithfully' offers keen insights into the destructiveness of jealousy."
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“A gracefully done world premiere. Elisabeth Gray is elegantly alluring as Anne…Jonathan Bank's direction leans towards the darker side of Anne and Stephen's marital issues. There's a good deal of humor and wit throughout the evening, for sure, but Bank seems to be downplaying frivolity in favor of the emotions that may have inspired Malleson to write the play…This isn't a flaw, but rather an interesting turn in a finely acted production of an intriguing play."
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"I won't say that 'Yours Unfaithfully' is the most consequential work that the Mint has unearthed from its vault of lost works—it is little too earnest, perhaps, its ironies a little too carefully polished—but there are many compensations in the author's unfailing elegance of expression…Under the super-smooth direction of Jonathan Bank, a quintet of actors, all equipped with a fine grasp of period style, make the most of Malleson's astringent portrait of an open marriage."
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"Beautifully well written, thoughtful, intelligent play...The play is bracingly modern in its content and focus...The absence of full-on Brit accents was a disappointment to this audience member. Otherwise, this production is eminently satisfying in terms of Jonathan Bank's direction...All of the casting and performances are spot-on with the exception of Schnetzer, who seems a little too young, too easygoing, and yes, way too American."
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"Though open marriage continues to have its yea and naysayers, it's all a tad passé given the many current departures from traditional man-woman monogamous relationships. Nevertheless it does all add up to an engaging two hours thanks to the often witty dialogue and the generally fine performances Mr. Bank has elicited from the actors...By introducing us to Miles Malleson with this never produced play, Jonathan Bank proves the validity of that old saw 'better late than never.'"
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"One problem is that the play (unlike Noel Coward's 'Design for Living' or Somerset Maugham's 'The Constant Wife' which cover similar territory) is neither witty not clever, and none of the lines are particularly sparkling or original. While the play may delineate liberated sexual behavior, its drawing room comedy format is too conventional and refined. All five performers always seem to be acting as their style is too arch to be truly believable."
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