nThe Herald (Glasgow), 14 July 1992, by Jean Reid
The Heiress at the Theatre Royal, Glasgow
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HENRY James, a New Yorker with a lifelong love of Europe, 
never had a success in the theatre. 

Strange then that his novel *Washington Square* should have 
been adapted by Ruth and Augustus Goetz into a play that has 
been holding audiences since its first production 45 years 
ago. 

It is, of course, a marvellous vehicle for stars, who have 
included Wendy Hiller, Peggy Ashcroft, and Ralph Richardson. 

But it is also a remarkable study of a young girl's progress 
to stunted maturity within a society where love comes a poor 
second to money in the scale of values. 

Not that the tragedy which develops in the front parlour of 
Dr Sloper's house (beautifully recreated by Saul Radomsky) 
is always clear-cut. 

The fascination of the plot is that our sympathies keep 
shifting. 

We are well aware that the plausible young suitor is 
interested in the daughter's fortune even as we wish that 
she will find the love she so desperately needs. 

And yet the ending has its own sad satisfaction. 

As Dr Sloper, Frank Finlay makes no attempt to sound 
American and is not always as audible as he might be, but he 
successfully conveys the cold concern of a father who has 
never seen his daughter as anything but a poor substitute 
for his beautiful and talented wife. 

Nichola McAuliffe as Catherine is strangely high-pitched and 
suitably graceless at the start but develops real pathos and 
dignity as the play progresses. 

Barbara Murray is a splendidly silly Aunt Lavinia, and 
Anthony Head gives Morris all the easy charm needed to make 
his wooing almost convincing.  


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