Quick quips and grand emotions rule the stage in the University Theater’s comedic production of Major Barbara. Written by George Bernard Shaw and directed by Gaye Jeffers, Major Barbara tells the story of a family struggling with the moral aspects of their father’s fortune and illustrates the social and financial burdens of the poor in England during the early 20th century. Between the poignant delivery of the actors and the telling set design, Major Barbara is a hit that has defined the University Theater’s spring season.
            Bold metal wheels create a dramatic statement on stage for Major Barbara. Done in an aesthetic yet realistic style, the set defines the struggle and contrast between classes and characters. The stage is broken into levels just as the class systems are broken apart in the play. This leveled stage also emphasized the conflicts between characters. Whenever a character was making a boastful or emphatic speech, he/she would stand on the highest level to seem more important than the others. I thought this was an interesting design.        
            Yet, the metal wall separating the front and back stage spoke the most to the themes of the play. As the pompous, proper Undershafts sit in their frivolous, fancy home, the poverty-stricken workers poise like slaves in chains to the machinery. This image truly emphasis the differences in classes and makes the conflict always in sight. I give great praise to set designer Brian Baillif for being able to convey this message without overpowering the cast.
            With the exception of Sarah Undershaft (Allison Moy), whose character was flat, each member of the cast provided an in-depth look into different philosophies and humors. Lead actress Sonequa Martin (Barbara) commanded the stage with her zealous passion for the Salvation Army. Although this character’s dreams for mankind are unattainable, Martin makes Barbara relatable and understandable. Andrew Undershaft, portrayed by Steve Ray, made an excellent foil to Barbara’s character, making even the most apparent villain into a loveable character through his wit and audacious manner.
            Yet, it was Alicia Grubb’s performance that left the audience laughing. Since there was so much philosophy and somewhat complicated language, Grubb’s acting made everyone light. With a simple glare or movement, Grubb captured the pompous persona of Lady Britmart. She looked elegant and affluent (thanks to costume designer Donna Meester) and was able to portray the quintessential early 20th century rich woman.
            Only two of the play’s elements fell flat for me. The play was unexpectedly long, nearly three hours including intermission. The last scene didn’t include as much humor, which made the play seem longer than it was. The other problem in the play was the sound design. When the family visits the cannon factory sounds of cannons burst through the tiny theater and reverberate loudly. This effect interrupted the actors and was too loud to gain any effect.
            Overall, I felt the scenery and acting in the play was outstanding. I would recommend it for anyone.