This weekend is your last chance to see the Pasadena Playhouse’s fine production of “The Heiress.” For women of a certain age and even a few men, the big attraction of this production is seeing Richard Chamberlain on stage. Director Dámaso Rodriguez has given this revival more humor than I can recall in previous productions.

“The Heiress” is based on Henry James’ 1881 novel “Washington Square,” Set in the mid-nineteenth century in New York, and as the title of the novel suggests, the setting is Washington Square, a highly desirable residential area.  The play’s action all takes place in the beautiful home of Dr. Austin Sloper (Chamberlain), a widower with one daughter, Catherine (Heather Tom).  Catherine’s birth resulted in her mother’s death, something that the doctor hasn’t quite forgiven her for although he gave her all the benefits of his wealth–private schools and lessons. Awkward in the company of men, Catherine has no eager suitors like her sweet engaged cousin Marian (Anneliese van Derpol). Her widowed aunt, Lavinia (Julia Duffy), encourages Catherine, particularly when Marian’s fiancé, Arthur (Chris Reinacher), brings his charming cousin, Morris (Steve Coombs) for a visit. The handsome penniless Morris begins to a whirlwind courtship of Catherine much to the suspicion of Dr. Sloper.

During his heyday, Chamberlain became a heartthrob in 1961 when he starred on the “Dr. Kildare” series TV, a role for which he won a Golden Globe for Best TV Star in 1963. His talent was not limited to the TV; in 1969 he became the first American actor to portray Hamlet in a British production and he would later reprise the role for the Hallmark Hall of Fame TV production.

Of course, then there was the mini series role that launched renewed interest in Japan—“Shogun” for which he won another Golden Globe in 1980. Two years later, he starred as the Father Ralph de Bricassart in the mini series, “The Thorn Birds” and received another Golden Globe.

Chamberlain also returned to the stage in 1997 for a revival of “The Sound of Music” as Baron von Trapp and the production went on national tour.  The man can sing, the man can dance and he’s still very attractive.

Besides Chamberlain, this production features soap opera star Heather Tom who was in “The Bold and the Beautiful,” “One Life to Live,” and “The Young and the Restless.”  Tom has three Emmys to her name and isn’t a novice on stage, having performed on Broadway. Julie Duffy returns to the Pasadena Playhouse, having been on this stage for “The Little Foxes” and she also has Broadway credit. TV viewers might remember her as the ditzy, self-involved Stephanie Vanderkellen on “Newhart” and Allison Sugarbaker on “Designing Women.”

Richard Chamberlain brings a certain charm to his role.  When you see him smiling, you can imagine a sunnier time during his younger days, particularly when he speaks wistfully of walking in Paris during his honeymoon. Tom’s Catherine hangs on his arm, almost hiding behind him. Tom’s Catherine always looks like she’s in pain, her eyebrows meet below deep furrows in her forehead. Her spine crumples as if collapsing underneath the weight of her father’s expectations.  Yet alone with the romantic Lavinia, Catherine smiles and is animated and serene.  And with Coombs’ Morris, Catherine melts. It’s easy to see why.

Coombs’ Morris has boyish charm that wears thin. He’s almost like a young Dr. Sloper without the drive or substance. He sees opportunity, but he is far from sinister. He’s straight forward and disarmingly honest in Ruth Goetz and Augustus Goetz’s script. He clearly finds disappointment in the prospect of having only $10,000 per annum instead of the $30,000 per annum Catherine would have with her father’s support. His love is for Catherine as a package deal: her money and her.

Duff’s Lavinia is less ditzy than her “Newhart” character, but her emotional wisdom isn’t respected by Dr. Sloper or, eventually, Catherine herself. If Dr. Sloper was blind to the beauty and talents of his own daughter, Catherine becomes blind to what others see in her as well and, in many respects, the beauty of the world.

In the late 1940s and 1950s, a woman having a trophy husband was shocking. The play debuted in 1947 and Basil Rathbone, more famous for his Sherlock Holmes, portrayed the father. When it was made into a movie in 1949, Ralph Richardson would play the doctor while Olivia de Havilland was Catherine. Montgomery Clift was Morris.  Yet things have changed since then although perhaps not as much as they could. Men being married for their wealth is nothing  new, but there’s still something a bit scandalous about a woman being married for money.

Think of Cher post Gregg Allman with that 22-year-old bagel baker. How about Madonna with Carlos Leon? Or, more recently, Britney Spears with Kevin Federline. Morris would have been an ideal wealthy wife–he speaks several languages, he’s charming in conversation, he’s attractive and he appreciates beautiful and expensive things.

Catherine is often played by a woman who is beautiful and made plain, yet what is beauty? The transformation confidence and a smile make in Tom’s Catherine should be instructive to all of us.

“The Heiress” continues until 20 May 2012 at the Pasadena Playhouse, 39 South El Molino Avenue, Pasadena, CA 91101. Saturday, 4 p.m. and 8 p.m. and Sunday, 2 p.m. and 7 p.m.  Regular ticket price range is from $29.00 – $59.00, with Premium Seating available for $100.00