Maureen Janson Heintz
There are few poets more mysterious or fascinating than Emily Dickinson. Virtually unknown in her lifetime — she saw only 10 of her poems published — her voice is now standard study in high school English classes, and she is often grouped with Emerson and Whitman as an important 19th century American writer. So it’s not surprising that William Luce’s one-woman show about Dickinson’s private life, The Belle of Amherst, was such a success when it debuted in 1976. Whole generations had grown up wondering what it would be like to be a guest for afternoon tea in the Dickinson family home in a small town in Massachusetts.
Two Crows Theatre Company, a new troupe in Spring Green, gives audiences just such a glimpse into her private world in its current production of The Belle of Amherst, which runs through Feb. 16 in the back room at The Jefferson (the former Village Tavern). Belle features American Players Theatre favorites, both onstage and behind the scenes. Colleen Madden directs Tracy Michelle Arnold in the delightfully intimate solo piece.
For those who were taught that Dickinson was a lonely, ghostly recluse, Arnold’s Emily will come as a delightful surprise. She harnesses the energy contained in the poet’s verse and her professed love of her nieces and nephews. And this Dickinson is thrilled that the audience has come for a visit. She is eager to share the life that is confined to the family house — immediately reciting her prized recipe for a spicy fruitcake — and the relentless life of her mind, which marvels in nature, celebrates a personal relationship with God that is found outside organized religion, and is driven to write in her own distinct style, reveling in glorious words “that you can tip your hat to.”
The narrative is a mixture of stories about life in small-town Massachusetts; Dickinson’s disappointments and aspirations surrounding her writing; and her relationships with others. It also includes flashbacks to key moments in her childhood and is interspersed with musings on the meaning of life. In between, Arnold recites many of the poet’s pieces. Some feel like presentations, while others blend seamlessly into her exuberant conversation. “Because I Could Not Stop for Death,” “Success is Counted Sweetest,” and “Hope is a Thing with Feathers” stand out for their familiarity, but others sneak up on the audience as a natural outgrowth of her conversation with us. And to Madden and Arnold’s credit, the play, which could easily be static and dour, shows so many colors of the poet, rising and falling with events that unfold over a lifetime instead of relying on a standard dramatic arc.
The large, central stage is filled with period-esque furniture, including Emily’s bedroom and a large Victorian-inspired parlor. Madden makes good use of the space, and Arnold is seldom still. Her blocking follows her thoughts — flitting from one subject to another as she performs small domestic tasks of wrapping a cake to send to the neighbors, winding balls of yarn, or serving tea. In a signature white dress and plain, chestnut wig, Arnold makes a convincing 19th century spinster, who considers herself plain and unremarkable, though she’s anything but.
The Belle of Amherst is like visiting an old friend, warmed by a cup of tea on a cold winter’s night. It is not only worth the drive; it’s an auspicious start for a new theater company.
