Men behaving badly is nothing new, but what about that other half? There's nary a man in sight in the Old Globe's stellar revival of "The Women," yet there's plenty of misbehaving going on among its exclusively female characters.

Kate Baldwin and Kathleen McElfresh with cast members behind

Copyright©2008 Craig Schwartz

Clare Boothe Luce's frank depiction of the backstabbing and bitchery among friends of the "fairer sex" caused a stir at its Broadway premiere in 1936. "The Women" is perhaps better known today through George Cukor's 1939 film version and the starry but poorly received remake by first-time director Diane English currently in movie theatres.

Unlike that latest, updated take, director Darko Tresnjak's staging keeps the action firmly entrenched in its original period. The moneyed Manhattan ladies-who-lunch of Luce's play are showcased exquisitely in Anna R. Oliver's dazzling parade of character-defining costumes. No detail is overlooked, from the eyepatched dowager and monogrammed exercise wear to the severe tilt of a feather in a particularly venomous character's hat.

For a show in which almost every other scene is set in a hair salon, dressmaker's shop, or exercise room, Luce's women of leisure must always look their best, and wig supervisor Molly O'Connor has fashioned a picture -- and period -- perfect set of curled coiffures for the whole lot.

Jenn Harris, Blair Ross, Ruth Williamson, Mary-Pat Green & Aimee Nelson

Copyright©2008 Craig Schwartz

The elegant lighting design of Matthew Richards adds to the look, but it's David P. Gordon's revolving Art Deco set, with its sleek lines and glossy surfaces, that really elevate the show's visual package. Making creative use of a central passageway between the revolve's front and back sides, in which we see characters eavesdropping and idling about, it also includes a mirror or two in just about every one of its twelve scenes, all the better for these women to primp and obsess in -- and for the female portion of the audience to seem themselves in, [surgically removable] warts and all.

Underneath all this visual display, of which there is much, Luce's satire of women behaving badly proves remarkably enduring. True, contemporary women may not feel the same absolute need for a husband that Luce's Park Avenue gals do, but the gossip, the scheming and conniving between "frenemies," all seem fairly commonplace even today.

At the center of Luce's tale is the first Mrs. Stephen Haines, Mary, and her fierce rivalry with the second, a shopgirl named Crystal who steals her husband's affections. Kate Baldwin, with her fresh-scrubbed patrician wholesomeness, easily wins our hearts as the wronged wife, and Kathleen McElfresh gives the crass Crystal a grating nasality that makes her all the more annoying.

Nancy Anderson, Amy Hoen, Ruth Williamson, Amanda Kramer & Kate Baldwin

Copyright©2008 Craig Schwartz

The evening is littered with delicious performances from the rest of the strong company, too. Baring feline nails painted Jungle Red, Heather Ayers has fun with the cattiness of queen bitch Sylvia. Tresnjak has expanded the role of ex-chorine Miriam, Sylvia's nemesis, played here by Broadway musical comedy regular Nancy Anderson, who lends her vocal talents to several period songs that open and close each act.

Amy Hohn gets some juicy bits as perpetually pregnant Edith Potter, chain smoking and spirits-swilling her way through life regardless of what she has growing in her womb or nursing in her arms. As the amour-afflicted Countess de Lage, salty Ruth Williamson works the stage like the old pro she is.

The Cast

Copyright©2008 Craig Schwartz

One wishes the wonderfully acerbic Amanda Naughton had more to do as refreshingly independent writer Nancy, but as the lone single gal of this husband-obsessed circle, there's just not much room. As newlywed Peggy Day, Amanda Kramer similarly stands out as the face of innocence in this vicious bunch.

Linda Gehringer is nicely understated as Mary's advice-giving mother. Mary-Pat Green, Blair Ross, and Jenn Harris do some memorable work with four or five fun character roles each. Rounding out the cast are Aaryn Kopp, Aimee Nelson, and Kayla Solsbak.

As with his recent productions of "Bell, Book, and Candle" and "The Pleasure of His Company," it looks as though Tresnjak has done it again, dusting off an old gem and polishing it up for a production that looks period but still manages to feel contemporary.

As for "The Women," there's not much more pleasure -- albeit a perverse sort -- to be found than in the company of this coterie.

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