Sally McCarthy as Miss Madrigal; Karen McNulty and Joanne Maurer as applicants; Photo: Cindy Smith

Spielmann has some real competition from the other women in the production. In a small role Joanne Maurer steals the stage twice with her scattered woman applying for the job. She applies a loud stage whisper in her scene and then adds an hysterically funny double exit which got a nice laugh on opening night.

As Madrigal, who gets the job, Sally McCarthy seems to almost perfectly inhabit her role of a strong-willed, determined woman without qualifications but with a deep, dark secret to protect. In this country house setting she anticipates no threat to her well-being, but with Laurel and Maitland observing her every move and Mrs. St. Maugham's exhalted friendships she is contantly under threat. McCarthy, in a much more controlled and realistic role than she normally plays on the Ghent stage, is enthralling and even chilling at times. Madrigal has knowledge that outclassed her employer when it comes to plants and gardening and she displays a practical point of view in dealing with a dangerous child that is amazing. By the time the play reaches its necessary conclusion we, the audience, can feel how perfect is the fit for these two highly different women. What McCarthy brings to the Ghent stage this time around is a realistic reassurance and a solid base for this play. 

The middle generation of the St. Maugham family is played by Cathy Lee-Visscher. There is a steady bond between Laurel and her grandmother in the remarried mother/daughter character Lee-Visscher plays. Though she only has three brief scenes we understand quickly that Olivia and her mother are not equals in strength and yet Olivia is not under mother's controlling thumb and can hold her own in life-effecting arguments. The pictures of loveliness in relationships are clearly presented by the actress and Olivia's desire to reclaim her child is movingly sincere. This is one role for which Lee-Visscher is just perfectly cast and she has an impact not to be sneezed at.

She has also directed the play. Her vision of Bagnold's text and characters is right on. She and her fellow players are crisp and British and even when the accents may be questionable, the impact is not. Each character from "Third Applicant"  to "Nurse" is individual and defined. Characters reactions to the never seen dying butler upstairs are exactly right and in turn define the man on the house phone. The director has been gifted a perfect set designed by Sam Reilly, outstanding costumes created by Joanne Maurer, Joe Sicotte's perfect lighting and absolutely fine sound design by Monk Schane-Lydon. This team, assisted by Kelly Maurer on props and excellent stage management by Arielle Lant, gives us excellent theater. That's a certain plus this time around.