Two extraordinary actresses return to Manhattan Theatre Club in a vibrant new production of Lillian Hellman's The Little Foxes.
In a thrilling coup, MTC will present three-time Tony Award nominee Laura Linney (Time Stands Still, Sight Unseen) and Tony winner Cynthia Nixon (Rabbit Hole, Wit), who will alternate playing the roles of Regina and Birdie in Lillian Hellman's legendary play about greed and ambition.
Set in Alabama in 1900, The Little Foxes follows Regina Giddens and her ruthless clan, including her sister-in-law Birdie, as they clash in often brutal ways in an effort to strike the deal of their lives. Far from a sentimental look at a bygone era, the play has a surprisingly timely resonance with important issues facing our country today. Tony winner Daniel Sullivan (Proof, Rabbit Hole) will direct.
Daniel Sullivan directs Hellman's Alabama tale with a crisp vigor that smooths over its melodramatic bumps. The prime mover is Regina, who plots with brothers Ben and Oscar (malevolently perfect Michael McKean and Darren Goldstein) to close a deal on a cotton mill in order to make them all filthy rich. The cast is uniformly strong, and outstanding work comes from the leading ladies. Linney is fire and ice: regal yet ready to spit venom. And Nixon, in the configuration I saw, is delicately touching as the meek, damaged Birdie. The Little Foxes may not command as high a prospect in the pantheon of American drama as more poetic work by Tennessee Williams or Eugene O'Neill, but it's cunningly built and packs a punch; it's the August: Osage County of the interwar years.
Linney's Regina is pure Machiavellian cunning, a sly fox waiting for those dumb rabbits to hop into her den. For those family battles, Greenwood has designed her several fashionable sets of armor, one a severely tailored suit and underblouse in a deep, gorgeous shade of teal. Properly suited up, she's a formidable opponent who fights to the death - quite literally in her harrowing scenes with husband Horace (superbly played by Thomas), whom she drags home from the hospital to sign away his money. Linney is ferocious when Regina is thwarted, but she never gives up. She flashes her dimples, she flirts, she bullies, she teases, she commands, she seethes with rage. And when all else fails, she looks you in the eye and says: 'I hope you die.' I don't know about you, but I give up.
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