No Bull: Bridge Across The Pond’s Look At Women’s Movement

 By Oline H. Cogdill

Before Suffs or Liberation that in the last couple of years looked at the women’s rights movement, there was the inelegantly titled, yet appropriately named, Bull in a China Shop that shows another historical view of the fight for women’s rights, now being staged through April 26 by Bridge Across the Pond at Empire Stage in Fort Lauderdale.

Bull in a China Shop is inspired by the letters and lives of the real Mary Woolley, who was the president of Mount Holyoke College during the early 20^th century, and Jeannette Marks, a professor and writer who also was Woolley’s longtime love. The play, written by Bryna Turner, debuted at Lincoln Center’s Claire Tow Theater in 2017.

Bull in a China Shop centers on a historical footnote of these two women that feminists of a certain age may have heard of, but know little about.

Formed last year, Bridge Across the Pond delivers a thought-provoking, entertaining, and yes, dare we say it, educational Bull in a China Shop, the company’s second production, directed by its co-founder Gary Solomons.

The play spans some 40 years, from 1899-1937, as it follows Woolley, as she preferred to be called, who became president of Mount Holyoke College in 1901. A radical feminist, Wooley promised revolution at the women’s college. She promised to take Holyoke from “a seminary for pious wives” to a university where women’s education was valued.

That didn’t always go over well as she got rid of many domestic-type lessons in favor of serious studies, encouraged the young women to think beyond marriage and to question those “legacy” ideas passed down from their families. Parents were upset, donors stopped their contributions.

Then there was Wooley and Marks’ relationship, which they had to keep quiet though rumors filtered out. Remember, this is pre-World War I.

Bull in a China Shop moves at a brisk pace—an hour and 20 minutes—as the playwright spins both a historical and contemporary view of the women’s movement and the politics of the time, with profanity. Lots of profanity that’s not expected from such modestly dressed women in 1899 New England. But it works. The playwright uses profanity as it is meant to be used—as punctuation, not for shock value.

Although the playwright occasionally dips her script into a bit too much didacticism, Bull in a China Shop is never boring. This is a personal play illustrating how five women were affected by their beliefs and actions that were way ahead of their times.

Solomons has assembled a solid, energetic cast who fully embrace the material, drawing in the audience.

This starts with Beverly Blanchette who delivers a nuanced performance as Woolley. Blanchette jumpstarts the play with Woolley saying she is a “bull in a china shop,” planning to disrupt things as much as that proverbial bovine. A bull-ette just wouldn’t have the same effect. Blanchette shows Woolley’s steely resolve, her commitment, yet also her fear at going too far. Her monologues are truly lovely.

As Marks, Sharyn Peoples shows a woman dissatisfied with her job, wanting more than her career as a teacher or the times can offer. She and Blanchette have a chemistry that comes from two actors who respect each other and their relationship rings true, even when jealousy and discontent enter.

Lory Reyes acquits herself well as Dean Welsh, who is exasperated with Woolley’s approach to being the college’s president and the economic problems it brings. Reyes commands authority.

Bull in a China Shop marks the South Florida stage debut of two talents—Keri Bruner, as ambitious Holyoke student Pearl, and Xiomara Tejera as Felicity, a Holyoke professor. Both were students of Blanchette, an educator at Dreyfoos School of the Arts. Bruner and Tejera’s enthusiasm elevate these supporting roles. We look forward to seeing each again on the local stage.

Compliments to the production team with special kudos to Solomons for the terrific choices of music injected during scene changes. Not only was each song drawn from timeless pop and soul inspired but each tune also was a comment on the previous scene and helped guide the audience to the next scene.

Applause also to Preston Bircher’s lighting and sound design; Eric Fields and Edgar Maldonado’s set design; props by Gus Garcia, Anne Solomons, and Eric Fields, and those lovely high-necked long dresses, bright dusters and period hairstyles that are credited to the cast and Holly Budney.
Bridge Across the Pond Theater Company states that its goal is “to bridge the Atlantic through the power of performance” presenting in American and British theatrical traditions. As Solomons joked on opening night, Bull in a China Shop’s setting of New England does that.

The company shows much potential with Bull in a China Shop. We hope they will continue.

Bull In a China Shop from Bridge Across the Pond plays through April 26 at the Empire Stage, 1140 North Flagler Drive, Fort Lauderdale. Performances 8 p.m. Friday-Saturday, 5 p.m. Sunday. Running time a little less than 90 minutes. Tickets start at $35. Visit https://bridgeacrossthepondtheater.org  or call 954-678-1496 for tickets or more information.