By Andrew Poretz . . .
Back in 1968, an advertising poster for Blackglama furs featured a Richard Avedon photo of iconicc star Bette Davis with the tagline, “What Becomes a Legend Most?” When it comes to Bette Davis today, what becomes this legend most is Jessica Sherr. This actress and playwright has spent the last 15 years mining the life of Davis in her one-woman show, Bette Davis Ain’t For Sissies. (The show’s title riffs on Davis’s famous quote, “Getting old ain’t for sissies.”) The powerhouse one-woman show brings the legendary star to life in a sweeping journey through her remarkable career.
The show, which Sherr has performed some 475 times in 30 states, returned to the Triad Theater again in October. This writer has seen multiple iterations of the show nearly since its inception, with each version bringing improvements to Sherr’s portrayal, as she brings the character into increasingly sharper relief.
Sherr’s impeccably crafed script and unforgettable performance channels Bette Davis. Through “conversations” (using an antique phone) with her mother Ruthie, her friend and rival Olivia De Havilland, film director William Wyler, and Howard Hughes that wends through her dysfunctional relationship with her daughter, her four failed marriages, her groundbreaking court case with Warner Brothers (which she lost), and being subject to ageism in Hollywood, we experience Bette’s most defining and most vulnerable moments: her courageous battle against sexism and inequity.
Especially striking was her use of an actual Life magazine prop featuring Davis on the cover, their visages similar enough to think Davis herself was holding it up. In a wonderful touch, Sherr used a scarf, gloves, and earrings worn by Bette Davis that were gifted to her by the Davis estate. Sherr makes clever use of her set, a somewhat fancy “dressing room” or living room that utilizes a small table, a sofa, a coat rack, and props that include a pair of Oscars, a carafe of “liqueur” for several drinks she poured for herself, and an antique phone, used for the many “phone calls” from deliciously dropped names. (In larger theaters, Sherr uses a fully dressed set that recreates Davis’s Hollywood home.)
Sherr made frequent clothing (costume) changes in full view of the audience, sometimes revealing antique undergarments, continuing her dialogue while deftly changing her stunning outfits as she described different career and personal challenges. This device proved very useful in showing multiple sides of Davis. Of course, there were (faux) cigarettes, though these were used sparingly through the performance.
This is an appealing show that has yet to disappoint in multiple iterations. Sherr’s writing is crisp, her acting is riveting, and her voice is spot on, and her use of props, particularly the antique phone, nearly make you forget she’s on stage alone.
Bette Davis Ain’t For Sissies, masterfully directed by Drama Desk Award winner Karen Carpenter, who helped Sherr hone a story that captures Davis’s true character. At the Triad Theater, 158 West 72nd Street, on November 15 at 2 pm and December 13 at 7 pm. For tickets, visit www.BetteDavisAintForSissies.com. For more information on Jessica Sherr, visit www.JessicaSherr.com.
Photos: Andrew Poretz except where indicated
