The Late Christopher Bean

The deceased title character of The Late Christopher Bean is a kind of Yankee Van Gogh, dying obscurely in a small New England town, his paintings too bold to be appreciated by the locals. Those he left behind in the home of his philistine physician, Dr. Haggett (James Murtaugh), have been carelessly maimed or recycled. But when the artist is finally discovered by critics, the crooks and con men of the New York art market suddenly descend upon the Haggetts’ wholesome home, leading to greed and chicanery on all sides. (The family may not know much about art, but they know they like money.) Only the unpretentious servant, Abby (the excellent Mary Bacon), still carrying a torch for Bean, knows the true value of his art, if not the price.

While Sidney Howard’s 1932 play (adapted from a French farce) may not be as brilliant as a Van Gogh, the TACT company should be commended for rescuing it from obscurity. For such a nasty little comedy of art and class, though, Jenn Thompson’s tame production too often errs on the quaint side. Until the farcical momentum kicks in halfway through, her direction seems static and aimless. Instead of New England thrift, the set gives us dainty small-town nostalgia, missing the sharp contrasts of Howard’s comic culture clashes. Thankfully, the fine cast brings both the comedy and pathos to life, especially in a moving denouement that breaks through all the shenanigans to remind us of the debt we owe great artists—monetary and otherwise—while they are still alive.—Garrett Eisler

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