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Lesley Manville in “Mrs. Harris Goes to Paris.”

Liam Daniel/Focus Features

‘Mrs. Harris Goes to Paris’ is a feel-good fashion fairy tale

BY ANN HORNADAY

The Washington Post

The fashion show within a movie has been a staple of cinematic escapism since the days of “The Women” and “How to Marry a Millionaire,” right through “Sex in the City”; its vicarious pleasures never cease.

That’s one takeaway from “Mrs. Harris Goes to Paris,” a warmhearted confection, based on Paul Gallico’s 1958 novel, that contains a short but stunning glimpse of mid-century Christian Dior designs, presented in a soignée showcase in the maestro’s Paris atelier. There, a Battersea house cleaner named Ada Harris (Lesley Manville) feasts her eyes on a collection of beautifully constructed gowns and day dresses — or “frocks,” as Mrs. Harris cheerfully calls them. How she came to arrive at this particular moment is part of the fun of “Mrs. Harris Goes to Paris,” a Cinderella tale of postwar grit and stiff-upper-lip optimism that becomes ever more fanciful as its sturdy, unfailingly kind heroine overcomes the obstacles in her path.

Directed by Anthony Fabian from a screenplay co-written with Carroll Cartwright, Keith Thompson and Olivia Hetreed, “Mrs. Harris Goes to Paris” chronicles how, while cleaning for a particularly snooty client (Anna Chancellor at her most deliciously imperious), Mrs. Harris happens upon a Dior dress that becomes something of a holy grail. By dint of prudence and a few passes at the dog races, Mrs. Harris just might raise the dosh for a junket across the Channel and a shopping spree. In a real fairy tale, her tea kettle would turn into a carriage and those dogs would become plumed white horses. Here, it’s Mrs. Harris’s innate decency, with her loyalty, honesty and humaneness, that is the source of her magic.

At nearly two hours, “Mrs. Harris Goes to Paris” crams a lot of thematic material into its gossamer-thin narrative. In between luscious shots of gorgeous clothes (the Dior pieces have been lovingly re-created by Jenny Beavan, the genius behind “Cruella” last year) are vignettes involving class solidarity, budding young love, potentially budding older love and the cruelties of middle age. (“That’s what we are, Vi,” Mrs. Harris says to her best friend, played by Ellen Thomas. “Invisible women.”) Fabian swirls the story points together with waltzing, sprightly grace, but over time the characterizations feel facile and patronizing, whether it’s Isabelle Huppert overplaying the catfaced meanie who runs Dior’s front of house or Jason Isaacs’s dreamily sweet London bookie.

(CATF from 15)

of the plays can be seen or a special activity is taking place throughout the duration of the festival, which runs through July 31. CATF utilizes three spaces on campus — The Frank Center, the Marinoff Theater, and Studio 112.

One of the best parts about CATF are the special activities that take place in addition to the plays. Backstage tours and public changeovers allow the audience to see the theaters transformed between scenes. Lectures and pre- and postshow discussions provide insights into the work and the opportunity to hear from the playwright directly. Festgoers can drop in on coffee sessions with McKowen, lunch gatherings and staged readings of other works, too.

Rarely do we get the type of access to the world of theater and the art itself.

Learn more at catf.org. — Shuan Butcher

THE PLAYS

BABEL

Renee and Dani are expecting. Ann and Jamie are also expecting. Set in the near future, Babel paints the picture of a society where embryos must be pre-certified. When each couple faces the test results, things take a frighteningly complicated turn — a decision must be made. Goldfinger’s dynamic and stirring play begs the question, “How far will we go before we realize we’ve lost our humanity?” This play is making its world premiere at Shepherd University. Written by Jacqueline Goldfinger, directed by Sharifa Yasmin.

THE FIFTH DOMAIN

Removed from his position at the National Security Agency, Troy latches onto a new opportunity — an opportunity he can’t refuse. But his eagerness blinds him to the calculated and unintended repercussions of cyberwar. Is cyberspace the battlefield of the future? Does our nation’s security depend on recognizing this threat? The playwright’s intense, slick thriller challenges patriotism and government accountability in our digital age. World premiere by Victor Lesniewski, directed by Kareem Fahmy.

THE HOUSE OF THE NEGRO INSANE

The year is 1935, and the Taft State Hospital is one of seven psychiatric facilities in the U.S. built exclusively to care for “insane and idiotic negroes,” where the homeless and downtrodden are housed alongside the criminally insane and diseased. Attius builds coffins at Taft Hospital, where he has been locked up for years, but when two new patients ask him to help them escape, Attius dares to dream of a life beyond the hospital walls. This historical drama offers a penetrating and moving portrayal that conjures hope in the face of physical, mental and spiritual incarceration. World premiere by Terence Anthony, directed by Cheryl Lynn Bruce.

SHEEPDOG

Amina and Ryan are both officers on the Cleveland police force. Amina is black, Ryan is white, and they are falling deeply and passionately in love. When an officer-involved shooting rocks the department, small cracks in their relationship widen into a chasm of confusion and self-doubt. A mystery and a love story with high stakes and no easy answers. This play fearlessly examines police violence, interracial love and class in the 21st century. Written by Kevin Artigue, directed by Melissa Crespo.

USHUAIA BLUE

A lyrical love story inspired by interviews with marine biologist James McClintock, this play is set in a magical world where science and love overlap, two scientists pursuing their dream research in Antarctica’s fragile environment suddenly find their lives disrupted. A tragedy forces the couple to examine the life they’ve built for themselves. Inspired by McClintock’s research, this compelling new play is filled with rich imagery and exquisite language. Set in Ushuaia, Argentina, the playwright’s cinematic and poetic story will leave you breathless and inspired. World premiere by Caridad Svich, directed by Jessi D. Hill.

WHITELISTED

In this haunting comedy, Rebecca Burgess moves into a brownstone, renovates it, and simultaneously refuses to embrace her neighbors. In all her gentrifying glory, she is just living her life when weird, supernatural stuff starts happening, for no reason that she can think of. But, of course, the fact that she can’t think of the reason is probably why it’s happening. World premiere by Chisa Hutchinson, directed by Kristin Horton.

TheDoo Wop Project

Friday, August 12 –7:30 pm

The Doo Wop Project begins at the beginning: tracing the evolution of Doo Wopfromthe classic sound of five guyssinging harmonies on a street corner to the biggest hits on the radio today. Tickets: $70 • $60 • $55 • $50

ON THE CREEK THIS WEEK | 7.21.22

MILTON J

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