The Color of Rose: A world premiere by Kathrine Bates

L.to R. Judith Roberts, Theresa Masse, Karen MacDonald. Photo:Paul Marrot

ArtsEmerson’s Irish festival of three plays opened on January 30 with the world premiere of The Color of Rose, by Kathrine Bates. While not an Irish work, it celebrates the life of Boston’s historically most prominent Irish-American woman, Rose Kennedy. Structurally reminiscent of Edward Albee’s 1994 Three Tall Women, the play portrays Rose at three different ages, as played by three different actresses. All remain on stage throughout, interacting with each other. As the elderly Rose prepares for a television interview, she reflects on her life, discussing and sometimes arguing about its facts and meaning with her younger selves.

Young Rose (Theresa Masse), innocent and unaware of what will transpire in the future, is full of questions; Middle Rose (Karen MacDonald) is bitter; Older Rose (Judith Roberts) has softened and come to terms with the past, but remains guarded. The conflict is between Older Rose and Middle Rose; for the most part, young Rose serves as an expository device. Considerable dialogue concerns Rose’s ambivalent relationship with her ambitious (many would say ruthless) husband Joseph P. Kennedy, which shaped her life and, to a large extent, their children’s lives. The middle-aged Rose torments her elder self in futile attempts to reawaken jealousy, anger, and hurt.

Although Bates researched her character, she relies heavily on imagining what Rose Kennedy might have thought and felt. While dramatists obviously have poetic license, Bates’s approach becomes problematic at times, since much of the play is a chronicle of well-known historical events. In a pre-opening interview, Bates asserted that she was not going to bring new information to the life of Rose, and she does not. She even appears to have ignored the 2007 release of Rose Kennedy’s diaries and personal papers, which purportedly reveal a more detailed and intimate portrait of the iconic figure. This play will likely appeal to longtime admirers of Rose Kennedy, as it did to the two women sitting behind me who commented, “How wonderful it was to see history enacted.”

Perhaps to emphasize the playwright’s objective of exploring the internal life of the combined character, or maybe to emphasize the changes that age brings, the three actresses do not resemble Rose Kennedy or even each other. Whatever the reason, the dissimilarity is confusing. Each woman has a different hair color (appropriately gray for the eldest, reddish-blonde for the middle-aged, and brown for the youngest) and body type. Judith Roberts does bring a grande dame quality to the role that was characteristic of Rose Kennedy but, like the other two actresses, does not essay Kennedy’s distinctive Boston accent. Karen MacDonald’s portrayal of an angry cynic is at odds with the usual impression of a stoical Rose, but works well within the drama’s context. Theresa Masse, a senior at Emerson College, is still not in the league of these seasoned professionals. In fairness to Masse, her role is the least developed of the three.

The Color of Rose plays at ArtsEmerson’s black box at the Paramount Theatre, arranged for this production as a proscenium theatre. James Noone’s clever scenic design of Rose’s sitting room is both realistic and expressionistic. With just a few pieces of furniture and props, it gives an impression of clutter. There is a desk and telephone downstage right; opposite a table; in the center an armchair with an end table next to it. Rose’s teapot, cup and saucer are placed on the table. Downstage, a low table is used as a seat. A chandelier is set in front of the proscenium. Upstage, in the shadows of memory hang pictures, posters, pots of flowers, a pennant, a mirror and an identical chandelier.

Costume designer Rafael Jaen dressed the women in ghostly silver-gray. Older Rose, not yet ready for the television interview, wears a lacy silk slip, a robe, and high heeled shoes; Middle Rose, a dress with a matching jacket and hat; Young Rose a similar outfit. Middle and Young Rose wear the trademark pearls. The clothes – all the same length – suggest different eras, without defining them. It would be interesting to know what Rose Kennedy, who fancied herself a fashion plate, would have made of the costumes.

With this production, ArtsEmerson achieved its goal of integrating the professional and the academic at the college. Melia Bensunnen, Obie Award Winner for Outstanding Direction and Chair of Emerson’s Performing Arts Department, staged The Color of Rose. In addition to Theresa Masse, numerous students, as well as a few recent graduates, participated prominently. The stage manager, her assistant, props masters, assistant lighting designer, associate sound designer, associate costume designer were all drawn from the Performing Arts Department. A working relationship of this kind is to be encouraged.

The Color of Rose

By Kathrine Bates

Based on a concept by Chuck Fries

Direction by Melia Bensussen

Associate Director Rebecca Bradshaw

Costumes designed by Rafael Jaen with Amber Boner

Sound Designed by Adam Howgarth with Erik Skovgaard

Scenery Designed by James Noone

Lighting Designed by Scott Pinkney

with Devin Jewett and Laura Schlein

Props by Alyssa Dillon with Heather Wise

Produced in Collaboration with the Performing Arts Department at Emerson College, Boston, MA

CAST

Older Rose – Judith Roberts

Middle Rose – Karen MacDonald

Young Rose – Theresa Masse