David Staller, the artistic director of the Gingold Group, has made his mission to celebrate the plays of George Bernard Shaw. To that end, the group offers readings of Shaw plays monthly and hosts discussions about him. One play each year receives a fully staged production. The current offering, Caesar and Cleopatra, is a rarity. Although it’s interesting, it’s less satisfying than, for instance, its low-budget Heartbreak House was last season.
The Gingold Group in New York thrives on the plays of George Bernard Shaw. Each month, artistic director David Staller assembles a cast for readings of them, but far too seldom is a Shaw work fully staged in New York. As Staller’s production of Heartbreak House shows, Shaw is still timely, almost uncannily so. Set during World War I, the play is an examination of the British nation; its characters encompass rich and poor, young and old, gentry and businessmen and clergy. In the view of the shrewd old socialist, it is, in the words of heroine Ellie Dunn, a “house without foundation—I call it Heartbreak House.”