“My religion? Well, my dear, I am a Millionaire. That is my religion.” This declaration is uttered by the character of Andrew Undershaft in The University of Alabama Department of Theatre and Dance’s production of Major Barbara. It is fascinating that a play written and first performed in England at the very beginning of the twentieth century can be so accurately representative of present day conflicts at the beginning of the twenty first century. The same ills and conflicts that plagued England at the turn of the century continue to plague this country and the rest of the world. The cast and crew of the University of Alabama Theater department do an excellent job in portraying these conflicts and bringing George Bernard Shaw’s message into the present.
      The characters of Lady Britomart, played by Alicia Grubbs, and Stephen Undershaft, played by Jason Keef, create the atmosphere for much of the play with their very complementary acting styles. Grubbs' mannered and extremely tempered portrayal of the reprimanding mother is a perfect compliment to Keef’s “mother’s boy turned independent bachelor” portrayal of Stephen Undershaft.  Jason Keef is one of the best character actors in the department and his portrayal of Stephen is very enjoyable. Early in this production, through the acting and the costume arrangement, it is easy to understand the close relationship between the character of Lady Britomart and her son Stephen. Both characters wear the same color of purple, the color of royalty and heritage, which serves as a very symbolic and proper choice, corresponding with one of the significant elements of the play. Major Barbara is portrayed by Sonecqua Martin and Barbara’s fiancé, Adolphus Cusins, is performed by Thomas Azar. Martin is the perfect fit for the character of Barbara and her debut at the University of Alabama is a pleasant one. Martin’s passionate portrayal of Barbara is in perfect harmony with the talented Azar. Their chemistry on stage seems natural and the two of them deliver a high quality performance that cannot go without mentioning.
      This production includes a delightful supporting cast. There are instances in the play where some of the actors’ English accents become difficult to comprehend, but overall the supporting actors were enjoyable in this production. Of the supporting cast, I was excited by and thoroughly enjoyed Ben Holmes deceivingly clever depiction of Snobby Price. All of the theatrical techniques and elements used in this production work well together to tell this story with truthfulness. The set, lighting, and costumes all help display the difference in the social classes of the characters as well as their individual feelings and emotions. The audience is taken from Lady Britomart’s superior living quarters to the destitution of the Salvation Army with ease and comprehension. The background, which utilizes an actual constructed set made up of machinery and actors, keeps the plight of the poor and the working class center stage.
      At no fault of the theater department, the final scenes are a bit lengthy. Shaw’s point is proven over and over again. His characters' statements about morality versus money become somewhat repetitive. Overall, this play encompasses a noble message and is a very thought provoking show. Be careful, for if given close enough attention, an audience member will find himself throughout the play, during the intermission, and exiting the theater doors questioning his or her own personal conflict between the age old issues of morality, religion, money and gunpowder.