REVIEW: SWNW's "Laughter on the 23rd Floor"

Stageworks Northwest presents a comedy about comedy writers written by a comedy writer.

Neil Simon.

What can I say about this (still living) modern American playwright? He's written one of my favorite plays (God's Favorite); several I like very much (like The Odd Couple); some that are quite good, but not my cup of tea; and quite a few I could care less about.

He's prolific. He can be funny. And he can be crude, somewhat foul and even irreverent. A Jewish writer, he's not afraid to let you know it and then show that he's not all that dedicated to the tenets of his faith either.

"Laughter on the 23rd Floor" is a biographical work. How accurate, how realistic, how self-reflective, I don't know. But it is a look back at his days working as a comedy writer for Sid Caesar's "Your Show of Shows" a live comedy variety show which ran on NBC from 1950-1954. Simon was part of the writing team which included Carl Reiner and Mel Brooks.

The play takes place in 1953 in the writer’s room of the "Max Prince Show," a fictional comedy variety show, during the height of McCarthyism.

Comedy writers who work in teams bounce around a lot of ideas, it seems, while also making jabs at one another. You'll see this in television programs like "The Dick Van Dyke Show" (1961-66, developed by Carl Reiner) and "30 Rock" (created by Tina Fey, who developed as a team comedy writer for SNL).

I've seen maybe a season of "30 Rock." I watched "The Dick Van Dyke Show" as a child and have revisited it as an adult. The former had it's funny moments, but also things that moved beyond my taste. The latter I enjoyed very much.

But what did I think of this production?

Frankly, not fondly. My least favorite Simon play to date. It was far too vulgar and distasteful for me. Way far. And that is it's biggest flaw, because it needn't be.

Lots and lots of F-bombs and coarse language, the Lord's name in vain, and general swearing permeated the script. The 50's weren't like that (at with least the F-bomb). Still, the story was good.

Having said that, I will add that a lot of the comedy shticks were really well written. There's a lot of great humor in the script. And having said that, I have to say that the patter pace and comic timing of this presentation simply did not do the comedy justice.

The Look of It

A pretty good shot of the really good set.

The set for this show looks great! The overall concept and execution, marvelous. The set dressing and costuming were generally good, but some non-period "best we could dos" were present in both.

The overall production values were high and the lighting even and well conceived. Everything ran smoothly.
Kudos to Michael and Jennifer Cheney for a great design as well as Leslie Slape for making it all cue up.

The Lack of It

Michael R. Cheney, left, plays a tormented TV star.

The production, directed by Jennifer Cheney, I would classify as "good," but not exceptional (like their production of "9 to 5"). As mentioned the cast lacked zing in the zingers. And I felt the characters should have been pushed a bit more toward the zany. Performances generally lacked oomph. I just wasn't sold.

The cast, in order of appearance, includes: Dean Baker as Lucas, new writer (based on Neil Simon); Corey Farmer as Milt, staff writer (based on Sheldon Keller); Pip A. Kennedy as Val, head staff writer (based on Mel Tolkin); Ryan Lee Gaylor as Brian, staff writer (based on Tony Webster); Patrick Hale as Kenny, staff writer (based on Larry Gelbart); Lora Ressler as Carol, senior staff writer (based on Lucille Kallen); Michael R. Cheney as Max Prince, comic actor (based on Sid Caesar); Ashley Stevens as Helen, secretary; and Matt Olason as Ira, staff writer (based on Mel Brooks).

Pip A. Kennedy, right, is in top form and clearly the leading talent.

Michael Cheney's and Matt Olason's performances did rise above the rest, but the true star of the show was Pip Kennedy in top form. I believe he played his role near perfection.

I think the play has merit. It is interesting. And, if you are a person who can take a goodly dose of foul language without it bothering you, then you should see the play.

WARNING: This show contains a few adult situations and pervasive strong language--including the Lord's name used in vain and several F-bombs. I do not recommend this show for everyone.

The play runs 7:30 p.m. Fridays and Saturdays and 2 p.m. Sundays now through September 28, 2014 at the historical Longview Theater space of Stageworks Northwest. Click here for tickets.

I enjoyed this related trivia page on the SWNW website.

By Gregory E. Zschomler
Photos, by Amanda Wilson Portraiture, provided.

Stageworks Northwest to Present Neil Simon Comedy "Laughter on the 23rd Floor"

Neil Simon's "Laughter on the 23rd Floor" opens this Friday, September 12, 2014 at Stageworks Northwest in Longview, Wash. The run continues through the 28th. Showings are Fridays and Saturdays at 7:30 p.m., and Sundays at 2 p.m. The production is directed by Jennifer Cheney.

"Laughter on the 23rd Floor” takes place in 1953 in the writer’s room of the Max Prince Show, a fictional comedy variety show, during the height of McCarthyism. Its characters are based on the real-life comedy writers Neil Simon worked with in his early career as a comedy writer for Sid Caesar on “Your Show of Shows,” a popular weekly variety show that ran from 1950–1954.

Warning: This play contains strong language and adult subject matter.

Look for our review on Saturday, September 13.

Bag & Baggage Production of Shakespeare's "Love's Labour's Lost" Magnifique!

Shakespeare in the Park...

No one knows how, when, or where it began. Could be, perhaps, it began with the Bard himself before he gained any semblance of notoriety. Perhaps he was just a lad, playing sketches before his friends on the lawn?

However it began, it has certainly proved a popular and cheap way to stage the royalty-free works. I first experienced the joy of outdoor Elizabethan Theatre some years ago with a production of “The Taming of the Shrew” in Vancouver’s Esther Short Park. And the tradition continues with this production of “Love’s Labour’s Lost” presented by Bag & Baggage in Hillsboro, Ore.

The plaza setting for the Bag & Baggage Production of Shakespeare's "Loves Labour's Lost."

It’s not frequently that you’ll be able to catch the obscure “Love’s Labour’s Lost,” as it is lesser known and somewhat unpopular “lost” Shakespearean work. So, catch this one while you can and enjoy a lovely "open air" evening with a great, professional cast.

Costume test and couples pairing for B&B's "Love's Labour's Lost"

The adaptation, by Scott Palmer, based primarily on an earlier adaptation is quite truncated from the original three plus hour play and clocks in at less than two hours.

The plot is loose, convoluted and not extremely important--think early situation comedy--but here it is in a nutshell:

King Ferdinand and his friends devote themselves to three years of uninterrupted "study" and NO women will be allowed within a mile of their court to interfere with their academic pursuits—that is, until the Princess of France arrives with her entrancingly distracting entourage of gorgeous ladies-in-waiting! They tease the boys then--with disguise, deception, mayhem, and romantic mischief--drop them like hot potatoes. No, this Shakespearean comedy doesn't end with weddings.

The Princess (center) and her ladies: Jessi Walters (L), Cassie Greer,
and Arianne  Jacques (R).

The sassy dialogue--inlaid with satirical, double-meaning gems and plenty of sexual barbs and sexist banter--is intriguing and was well ahead of it's time. While not a great classic, and certainly an experimental, early work of the Bard, it none-the-less foreshadows themes that will play out (better) in his other, later works. The director, Scott Palmer, has set the production with a uniquely Italian-Frederico-Fellini feel, inspired by Fellini’s masterwork La Dolce Vita.

The show is billed as "a light-hearted romantic romp, outdoors in the glorious surroundings of the Tom Hughes Civic Center Plaza—with stunning Italian-couture costumes by Melissa Heller and starring some of B&B’s most recognizable outdoor performers—riding in on Vespas! Perduta di lavoro la dolce vita di amore!"

L to R: Andrew Beck (the King) with Chip Sherman and  Luke Armstrong. 

The cast includes Andrew Beck as Ferdinand, Chip Sherman as Berowne, Luke Armstrong as Longaville, Cassie Greer as the Princess of France, Arianne Jacques as Rosaline, Jessi Walters as Maria, Dallas Myers as Boyet, Adam Syron as Moth, Gary Strong as Armado, and Rachel Rosenfeld as Jaquenetta. All played strongly.

The direction, by Palmer is, as usual, quite well done. Striking, really--especially in the blocking. The "runway" stage, with audience members on both sides, worked well, primarily because Palmer knew how to make it interesting. However, one must give the players quite a bit of credit as well; these are some of the Portland Metro Area's finest.

Front facing: Gary Strong throws it all in as Armondo.

The parts were played broadly, especially by the men, and the, sometimes slapstick, performances were melodramatic. The women, in general, played their roles "safer" and straighter. Among the women, only  Rosenfeld pushed with the same exaggerated characterization as the men.

Especially strong and delightful performances were given by Myers, Syron and Strong; all have great comedic skill. Having seen Syron and Strong in previous--and quite different--roles, I was particularly impressed. Strong, especially, excelled--throwing himself fully into his role. He was absolutely brilliant in this part!

Adam Syron (kneeling) as the servant, Moth.

The setting and scenery was nonexistent, since the production was "open air" rather than in their theater. It worked; nothing more was needed. The lighting, also sparse, also did the trick. The plaza's acoustics were great and there's not a bad seat in--well, out of the house. Best seats, I believe, will be on the first landing of the plaza's stairs.

The Princess and her ladies and the King and his men, dressed for the ball.

The costumes, by Melissa Heller, looked good, as far as I know. I'm no expert on the 1960's Italian thing. I did find the lack of distinction between the royalty, aristocracy and peasantry disturbing. (On a related side note, this lack of separation between the classes went beyond dress and was also present in manners--too familiar or casual.) Rosenfeld's costume also did not fit well with her characterization. Noting that one small caveat I recommend the production.

The show's remaining performances are July 26, 31, August 1, 2, 7, 8, and 9; 7:30 p.m. at  The Tom Hughes Civic Center Plaza, 150 E Main Street, Hillsboro, Ore. Tickets: $18, may seem a tad steep for a royalty-free, low tech budget, open air production, but B&B does pay their resident actors.

Photo by Ruth Zschomler.

Pre-show we ate at Orenco Station Grill, 6195 SE Cornell Rd. (Hillsboro). The service and setting were delightful and the food was superb, as was the music (live smooth jazz). I had the Cajun Shrimp Salad with seven delicious shrimp, mixed greens, sliced pears, Swiss and mozzarella cheeses, topped with bleu cheese dressing. My wife had a Chinese Chicken slaw-type salad that featured a sweet, gingery dressing and crunchy "chow mein" noodles. Both portions were good and fairly priced. For dessert we had a perfectly crafted slice of key lime pie (and we ought to know, we sampled a few when we were in Florida).

By Gregory E. Zschomler
Photos, except as noted, provided.

For another perspective by Dennis sparks, click here.

A Night of Improv at Magenta Theater

Vancouver's Magenta Improv Theater presents "A Night of Family-Friendly Improv," Saturday, July 19 at 7:30 p.m.

Join them in July for their next MIT show. You can be part of the action when our MIT troupe performs games and scenes based on audience suggestions with a “summertime” twist. 

Whether you’re 8 or 80, MIT shows appeal to all ages. Their goal is simply to deliver a fun, laughter-filled evening for you, your family and friends. Plus, you’ll see some familiar Magenta faces as you've never seen them before!

MIT show tickets are $10/person. Buy MIT Show Tickets Online Now or at the door (as available). Doors open at 7 p.m. Click HERE to order tickets

REVIEW: Zany "The Love of Three Oranges" at Longview's Dana Brown Mainstage a Peach

Forget all your dusty misconceptions about the traditions of commedia dell'arte (if you know anything about it at all) as "The Love of Three Oranges," by Hillary DePiano, based on a scenario (and opera) by Carlo Gozzi, provides a wild, raucous slapstick comedy that is completely retooled and revised for today's audiences.

A Mixed Fruit Salad

The play, based on the opera, is presented at the Dana Brown Mainstage in Longview, Wash. by the combined efforts of R.A. Long and Mark Morris High Schools. This is our first review for the theater/schools.

The basic plot involves a quest. Prince Tartaglia's life is filled with misery until an evil witch and her equally evil henchmen curse him to search for three giant oranges. But this quest proves more fruitful than anyone could have imagined as a once-lonely prince discovers love, friendship, and laughter when he encounters wizards, monarchs, and a wild narrator who isn't sure how far removed from the story he really is. Along the way much wackiness ensues.

For those unfamiliar with the form, Commedia dell'arte is improvisational 16th century Italian theater. The craft concerned troupes of actors (and actresses) which traveled about performing improvisational sketches wearing masks. This form is how improv and sketch drama came about.

Okay, enough of the history lesson (if you want to know more go to Wikipedia. Suffice it to say that what I experienced last night may have been a form of archaic theater, but it was also advent garde, experimental and...downright goofy.

Think of it as throwing equal amounts of Carol Burnett, Monty Python, Shakespearean comedy, Fractured Fairy Tales, Who's Line is it Anyway?, a melodrama, and one of those snarky-over-acted-Disney-channel kid shows (with a bit of Benny Hill tossed in for good measure) into a big blender and whirling it around on stage for a couple hours. Voila!

The Pick of the Crop

Honestly, I had never seen anything like the production I saw last night. I have no singular experience with which to compare it. So, how can I be qualified to comment on if it was done well or right? I do think it was creative and a very good exercise for the students. I would throw in the word bizarre, too. I would also note that it would be a challenge to direct and that I think, perhaps, that it might be a lot like herding cats.

So, with that said, I conclude in all my sophistication that director Susan Donahue did a fine job. Did I always laugh at the extremely broad, often bawdy, and brash comedy? No. Did I, for the most part, enjoy the show? Yes. And here's why:

Students were challenged, stretched and basically, "thrown to the wolves." And they ran with it. (I guess I'm kind of mixing metaphors there, but hodgepodge is in here.)

The acting was broad, often melodramatic and inventive. Much appeared to be off-the-cuff, but, unless the students are very brave and brilliantly imaginative, must have been well rehearsed. There were a handful of standouts, but the cast consisted of a mixed bag of talent levels. I will mention only those I felt were exceptionally adept at this type of theater.

Kristina Cox (Creonta and chorus), Jared Cox (wonderful as the aged Pantalone), Ashton Ruiz (Brighella) and Amy Raappana (Smeraldina) all presented memorable characters, acting chops and exercised good comic timing as did Ethan Feider (Leandro) and Anais Torres (Princess Clarice). All were daring in their approach.

Rising above these fine performances was Zach Christin (as King Silvio) whom I perceived to be a particularly strong actor, probably in many forms. However, the creme d' le creme of the crop were Carlie Arledge (Fata Morgana) and Andy Jones (the narrator).

Arledge was simply delightful as the wicked witch (loved the stockings). I loved how she played the role--part vanity, part mischievously playful, part malevolent, part sinister, part cocky--all with great comic timing. It was a complex and satisfying performance. A very strong and forceful actress who commands the stage. I see a future in show biz for this one.

Jones was amazing and engaging. If I could pick anyone (aside from Morgan Freeman) to be my narrator I would chose this young man. The sparkling delivery was storytelling at its very best. I loved his voice, his accent, his pitch, his cadence, his gentlemanly charm, his...everything. And there's certainly a dry, underlying wit and droll sense of humor. I could listen to him for hours, but he was also good to watch. There was a style to his acting (he did more than narrate) that set him apart and could take him far if he follows the glittery (and gritty) trail to the great white way.

Pruning the Production

The show was produced on a bare, but multileveled stage backed by a color-lit cyc. On the center's top most rise was a large book (pages turned to depict scene locale). The set was designed by director Donahue. There were many hand props and a few cubes used in the production. Masks, cheap elastic-attached beards, kitchen utensils and even a couple of rubber chickens were used.

The costumes (by Kim Barnwell who also served as her own assistant) were eclectic and colorful. The show was well lit (by Nick Powers, good name for an LD) with a variety of fixtures mostly gelled in bastard amber with some downward blue mixed in. I felt some surprise pink and lemon yellow could have been added to tickled the palette a bit.

The show might have benefited from a few special effects as well, but, then again, the show was presented well in its simplicity. There were several old-school music tracks used to good advantage in the show. None of the students would relate to these as well as the over 40 crowd. The sound and music design was also put together by the director. Presented in a lovely, old theater (you should see this) at R.A. Long high school, the show was acted--and well heard--without microphones of any kind.

What dancing there was was done well. The choreography, by the director and Rachel Schmaltz, was cute, concise, and tight. I especially liked the curtain call. And I should also give mention to the very rubbery antics of Rachel Schmatlz who is quite the gymnastic genius. She was also one of two musicians, along with Kendall Rogers, who nicely provided incidental pieces for the show.

So, yes, it was the weirdest form of theater that I've seen. It was briefly bawdy and so at times not to my taste. It had some PG language, too, so I recommend 14 and up at least. The thing is that some of the material is adult and some is quite adolescent, so it's hard to say at what audience the show is aimed. You could say "something for everyone," but then the opposite is equally true: "something not for everyone." All in all, I enjoyed the show, though I found it in several ways outside my norm. I was stretched and I learned some things from the viewing and from my research for writing my review. I think you might find it interesting, too.

Of special note: There are snacks (candy bars) available in the lobby for purchase, but, if you really want the good stuff, opt for the VIP tickets. For $5 extra you get to go to a special reserved, VIP dining area during intermission where you will meet part of he cast (still performing improvisationally in character) and be able to enjoy things like fruit juice, mixed fruit, veggie sticks, cookies, chips, etc. The group of cast members visiting the VIP area alternates every other  night between the "good" and "evil" characters.

Remaining performances are May 10, 16, and 17 at 7:30 p.m. and May 17 at 2 p.m. Tickets $5 (available at the door). For $5 extra, VIP tickets (reserved seating and snacks during intermission) may be purchased by calling 360.575.7133 in advance or at the door. The school is located just off Nichols directly across from Lake Sacajawea. Park in front of the school and go in the front doors to find the theater.

CAUTION: The play is rated PG for language and sexual innuendo.

By Gregory E. Zschomler

TICKETS and AUDITIONS

https://www.kickstarter.com/projects/1668278454/a-nite-of-2-one-acts

DOUBLE REVIEW: BGHS's "Much Ado About Nothing" Really Something

Sometimes you do Shakespeare just for fun (and because it's royalty-free). Or maybe you do it for educational purposes. Whatever the reason the Battle Ground High School Drama Club presents William Shakespeare's comedy "MUCH ADO ABOUT NOTHING" as their winter production:

The Play's the Thing

Most dramaturges consider the play one of Shakespeare's best comedies "because it combines elements of robust hilarity with more serious meditations on honor, shame, and court politics." In other words you've got satirical commentary wrapped in comedic content so that "a spoonful of sugar helps the medicine go down."

Some might consider the Bard's material archaic and hard to understand. Indeed that may be true in part until one studies the master enough to appreciate the historical context and witty words. Certainly there is hidden context which moderns may not readily appreciate, but with proper direction and educated interpretation the actors can bridge the historical gap.

For example, lets begin with the title: "nothing" sounds similar to "noting," which a few hundred years ago meant gossip, rumor, and overhearing, and is used as a play on words. And that, along within the context of the plays ado--two couples in courtship while friends meddle--gives you an indicator of what you're in for.

In fact, some of the most hilarious blocked scenes are when the lead characters are listening in on conversations they think they are not meant to hear.

Merely the Players

Benedick (Tullee Standford) and Beatrice (Sarah Russell) by the fountain.

The production, directed by Stephan "Cash" Henry, features a cast of twenty, among them: Sarah Russell as Beatrice, Tullee Stanford as Benedick, Brendan Groat as Claudio, Desiree Roy as Hero, Dalton Hidden as Leonato, Sky Ring as Dogberry, and Jake Gailey as Don John.

Many in the cast are first or second time players, but you wouldn't know it. The standouts among them were: Cody Bronkhorst as Don Pedro, Jake Gaily as Don John, Tanner Leeds as Friar Francis; and especially, Tullee Stanford as the leading man Benedick, Desiree Roy as the second leading lady Hero and Ryan McNeal in the bit part of Balthasar. The latter three seemed far more seasoned in their performances than their bios let on. Standford and Roy's (sounds like a Vegas magic show) performances were both very strong.

I must also note two especially fine performances by the more seasoned members of the cast: Sarah Russell as the strong-willed Beatrice and Sky Ring (playing cross-gender) as Dogberry. Both actresses, whom I've seen many times before, gave exceptional performances, but I must say that I feel Ring nearly stole the show.

Sky Ring gave a simply amazing comic performance. Delightfully flamboyant, physically and vocally masterful with 100% amusing energy. Part Capt. Jack Sparrow mixed with an audacious amount of Carol Burnett, Ring's performance was just too much fun. Perfectly played!

However, while all in the cast played well--especially for high-schoolers doing Shakespeare for the first time--I felt their performances, for the most part, were under-informed. Let me explain...

The World of the Stage

Hero (Desiree Roy) faints.
Photos by Stephan "Cash" Henry.

There are good Shakespearean experiences and there are bad ones. They can be dull and confusing or entertaining and eye-opening. Much depends on "translation" and character development. In order for an untrained/uninformed audience to "get it" the cast must convey the historical and contextual meaning of the words and actions. Those unfamiliar with the archaic terms, phrases and traditions of Elizabethan England--and especially the oddness of iambic pentameter--might be left scratching their heads saying "huh?".

I have seen Shakespeare well translated/interpreted with the "secondary languages" of facial expression and physical innuendo. Such an effort takes a great deal of time on the part of the director and cast. Each unfamiliar phrase or double-meaning must be explained and explored. This is great if you're doing Shakespeare for educational purposes, but can also be a bore if you're not really into it.

This production was not entirely boring nor was it completely entertaining. I felt the cast was under-informed because not all the subtext was made apparent to the audience. Certainly some time and attention was given this education by the director--that is apparent--but not enough. It could have been more clear and, therefore, more enjoyable to those who are not Bard snobs.

Which also brings to mind the style of delivery. Purists, who would set the play authentically in period only, might insist on the poetic lilt/cadence and rhythm of the textual style (iambic pentameter). It's artistic and traditional, but can be annoying and hard to follow (due to its line breaks and flow). Then there's the idea of "conversational" Shakespeare which is delivered without regard to the poetry of the text, but spoken in the thought flow of modern American English, which seemed to be, generally, how this production approached the work.

I believe one can strike a balance with the two styles. Again, this requires painstaking education and every line must be scrutinized and marked for pace, breath, and cadence--practiced and critiqued--until perfected. To a degree one does these things with every script, but it is more difficult when using a language you are not fluent in (and this is, for all intents and purposes, a different language). Americans are generally sloppy with English anyway.

Which brings me to my last critical point: Diction was generally good, but some of the players ran words together by speaking too quickly. Multiple thoughts ran together at times because proper pauses and rhythms were not observed.

Exits and Entrances

Claudio (Brendan Groat) in the Graveyard.
Keep in mind that these are pre-show photos without
final paint or stage lighting.

The blocking was generally excellent (however, the eavesdropping scenes decidedly favored the stage right audience), and set changes came quickly. The set, though simple and stylistic, was nicely done. I particularly enjoyed the color and gobo projections on the cyc. 

The lighting of most scenes was near perfection with the exception of the more intimate locales (house, street, dressing room) which used only a pool of key light with no fill or back light. The graveyard was very nicely and subtly lit utilizing (among other things) a steely blue (fantastic color) spot on Hero's grave. (Note: Death was not "allowed" in the comedy theatre of Shakespeare's time and here he is playfully thumbing his nose at the traditionalists.) 

The simple, but effective, stylized scenic design was by Sundance Wilson Henry (the director's talented wife) who also contributed with him to the lighting design. Mrs. Henry also contributed to costumes, and the director to the sound design. No one wore body mics, and all but one actor (Dalton Hidden, occasionally) could be heard well at all times.

Sky Ring as Dogberry (pictured here in partial
costume and without makeup) gave a stunning
and entertaining performance.

The costumes were all beautifully done though not elaborate. The pre-show music and slide show was cool, as always. The production moved along well under the direction of stage manager Kali Worthley.

I often give credit to those on stage and the principle designers, but I would like to mention that a large crew of back stage personnel also contributed (as is the case with every show) to this production. Though I cannot list them all by name, they too are heroes (no pun intended) of this production.

The audience did enjoy themselves and laughed from time to time (largely at physical comedy and obvious relational jokes though they missed many). This is quite a worthy stab at the Bard's work and really something of an undertaking. I admire the talent and effort, and while not perfection, the show was quite fun.

Review by Gregory E. Zschomler

Photos, by Stephan "Cash" Henry, provided.

A second review by guest blogger Dennis Sparks can be found here: http://dennissparksreviews.blogspot.com/2014/02/much-ado-about-nothingbattle-ground.html .

The show plays February 21, 22, 27, 28 and March 1, 2014 and starts at 7 p.m. sharp; doors opening at 6:30. Tickets are $10 for adults, $5 for seniors and students with an ASB card from Battle Ground High School. Advance tickets may be purchased here.

Prairie Drama Club Presents "The Importance of Being Earnest" by Oscar Wilde

This play was presented by Magenta Theater in Sept/Oct. 2013.

See the review of that production here. And watch for our review

of the Prairie High School production coming January 31.

"A Christmas Tuna" On The Air at Longview's Stageworks Northwest

A TUNA CHRISTMAS opened last night (Friday, December 6) and runs through December 29. Friday and Saturday shows are at 7:30 p.m. and Sunday shows are at 2 p.m. at the Stageworks Northwest Theatre, 1433 Commerce Ave. Longview, Wash. in the old Longview Movie Theatre.

The two-man play features Michael Robert Cheney and Joseph LeBard playing over twenty characters (both male and female) in this sequel to "Greater Tuna." It's Christmas in the third smallest town in Texas. Radio station OKKK news personalities Thurston Wheelis and Arles Struvie report on various Yuletide activities, including hot competition in the annual lawn display contest. In other news, voracious Joe Bob Lipsey's production of "A Christmas Carol" is jeopardized by unpaid electric bills.

Michael Robert Cheney and Joseph LeBard

"So funny it could make a raccoon laugh affectionately at Davy Crockett...It's far too good for just Christmas." - The New York

Both Cheney and LeBard have little time to come up for air while "on the air" in this celebrated Christmas comedy from the south. It's sure to be a wild and wacky ride.

WARNING: The content of this play may not be for everyone and I have chosen not to review it due to other online reviews. Several cited issues with course language and possible crude humor. I have seen "Greater Tuna" and found it funny. I just think you should be forewarned, it might not be what you expect, but then it just might be your cup of Christmas cheer, too.

Tickets are only $12 (all seats) and you can purchase them online at www.stageworksnorthwest.org

Photos provided.

REVIEW: "Uh-Oh, Here Comes Christmas" Presented by Longview's Rising Star Prod.

UH-OH, HERE COMES CHRISTMAS, based on Robert Fulgram's book, and adapted to stage by David Caldwell and Ernest Zulia, and presented by Rising Star Productions, opened December 6 at the Rising Star Theater in Kelso, Wash.

"I'm not often aware that I am happy, but I am aware that I have been happy often." ~ from the show

The Story

The show features fifteen holiday stories from the international best-selling author of All I Really Need to Know I Learned in Kindergarten which have been crafted into an engaging evening of storytelling and song. This charming show takes a funny, heartwarming and often poignant look at the struggle to find the spirit of the holidays amid the avalanche of commercialism, stress and chaos that crashes down every December. 

There are many delightful, inspiring, often humorous and sometimes touching stories--generally delivered as monologues, though some are given as vignettes. This is the ideal vehicle for this theater and ensemble and an excellent alternative for those tired of the "same ol', same ol'" holiday play (another "Christmas Carol" anyone?).

The Songs

There are a couple of familiar Christmas songs as well as five others you may not know that will delight audiences. One of them, "The Christmas Wrap," was composed by Greg Moore, the show's able accompanist. Each song was presented perfectly--the right harmony, the right feel--and could be heard well. I especially enjoyed "The Marvelous Toy" which I remember from my youth.

Note: There are two stage versions of this work and it can be offered with four musical pieces written for the show or there is a version without music. RSP chose the non-musical version and then added their own songs (which I think were better).

The Stars

L to R: Melanie Portwood, Laurel and Greg Moore (seated),
Jueanne Meyers, and Eric Gerdlund. Photo provided.

The "cast" of Uh-Oh consists of Eric Gerdlund, Jueanne Meyers (Artistic Director), Melanie Portwood, and the husband and wife team Greg and Laurel Moore. (A mime is also performed by Kyrie Huggins.)

The ensemble was a near ideal grouping. They each sang well on their own and harmonized very well together, too, voices blending nicely. They had their parts down and diction was clear.

Each player had their moment to shine and each shared the spotlight as well. If I were to choose a standout--and this is a hard one since the cast was so well matched--I'd choose Gerdlund. He seemed to convey a real connection with his material--especially the one about wanting his childhood back.

The Staging

As usual with Rising Star Productions, the set was not very complex or expensive. One simple "Christmassy" set here did the trick just fine. Remember, this was not so much a play as it is something of a "variety show."

This show was well suited to Rising Star Productions and accomplished what they aim for: Good, clean, family entertainment that builds and showcases community talent. The show runs less than two hours and can be enjoyed by the whole family (although I think that those who've been around for a few holiday seasons may relate better than the young).

The Seats

All performances are presented in their space at the Three Rivers Mall; December 6, 7, 13, 14, 20 and 21 at 7:30 p.m. with additional matinees on December 14 and 21 at 2 p.m. Tickets are $10 general, $5 for children (12 and under) and $8 for seniors (65+). Come early and enjoy the pre-show Christmas sing-a-long. Tickets at: http://www.risingstarproductions.org/tickets.html

Review by Gregory E. Zschomler.

Photo provided.

Stageworks NW Presents the Christmas Comedy "A Christmas Tuna"

A TUNA CHRISTMAS opens Friday, December 6 and runs through December 29. Friday and Saturday shows are at 7:30 p.m. and Sunday shows are at 2 p.m. at the Stageworks Northwest Theatre, 1433 Commerce Ave. Longview, Wash. in the old Longview Movie Theatre.

The two-man play features Michael Robert Cheney and Joseph LeBard playing over twenty characters in this hilarious sequel to "Greater Tuna." It's Christmas in the third smallest town in Texas. Radio station OKKK news personalities Thurston Wheelis and Arles Struvie report on various Yuletide activities, including hot competition in the annual lawn display contest. In other news, voracious Joe Bob Lipsey's production of "A Christmas Carol" is jeopardized by unpaid electric bills.

Michael Robert Cheney and Joseph LeBard

"So funny it could make a raccoon laugh affectionately at Davy Crockett...It's far too good for just Christmas." - The New York

Tickets are only $12 (all seats) and you can purchase them online at www.stageworksnorthwest.org

We'll be reviewing the show on Saturday, December 7 and the review will be posted here Sunday morning, December 8.

Now Playing at LCC

Coming to the LCC Stage

HELD OVER ONE NITE ONLY! REVIEW: LSP's "Arsenic and Old Lace" Killer

Love Street Playhouse opens 7th Season with "Aresnic and Old Lace."

Held Over By Popular Demand, One Night Only: October 27, 6 p.m.

When two old biddies take it upon themselves to put lonely old men out of their misery by poisoning them with arsenic in their homemade elderberry wine and then planting them "six feet under" in their cellar, craziness ensues.

The Love Street Playhouse production (Woodland, Wash.) of "Arsenic and Old Lace," directed by Melinda Leuthold, stars Melissa Haviv as Abby Brewster, Carl Haeger as the Reverend, Michael McElliott as Teddy Brewster, Scott (a cop again) Clark as Officer Brophy, JD Carpenter as Officer Klein, Lexy Dillon as Martha Brewster, Melissa (Mitchell) Schurman as Elaine Harper, David Roberts as Mortimer Brewster, Tom Golik as Mr. Gibbs and Lt. Rooney, Dan Davis as Jonathan Brewster, Duane Peterson as Dr. Einstein, Kyler Mitchell as Officer O'Hara and (the both dead) Mr. Hoskins and Mr. Spenalzo, and Mark Bergeson as Mr. Witherspoon.

The set of "Arsenic and Old Lace" at LSP by Jeff Leuthold.

All the leads were fantastic and the seconds were good, too. Standouts were Haviv, Dillon, Davis, McElliott and Roberts with Davis and Roberts performing stellarly. Roberts in his best role ever (of the many I've seen) was an incredible hoot. His expressions and double-takes were priceless. Davis was truly diabolical and commanding; taking the stage by storm. Schurman and Peterson also gave performances that soared above all the others I've seen them give.

The Production Was Killer

The production, with another stunning set by Jeff Leuthold (he's outdone himself again; if only all our local theaters would do as well) and lighting (good) by Hal Stewart, offers gobs of laughs and a whole lot of fun. The set was again masterfully dressed by Melinda Leuthold and costumes, by Fran Krohn with Leuthold, were just as great. Hair and makeup were also quite good. (How many bottles of dye job did you use? I didn't even recognize Michael McElliott until he spoke.) Worthy of note was the work of Violence Designer David Gregory Bareford. Also, there was a nice use of musical underscore.

A couple off lighting cues were off opening night and there seemed one moment where a small ensemble seemed to be playing "who's line is it anyway," but everything else seemed to come off without a hitch.

David Roberts as Mortimer (center) with Melissa Haviv as Abby
(left) and Lexy Dillon as Martha (right). Photo by Darci Elliot.

You May Die Laughing

You really need to see this quality performance, just to kill off (yes, pun intended) the autumn blues.

Showtimes are 7:30 p.m. Fridays and Saturdays, 2 p.m. Sundays, now through October 27. Tickets available at the ticketing website and Columbia Bank (Woodland branch) or by calling 360.907.9996  are $12 and $15. There is now assigned seating and the house was nearly sold out for opening night, so get your tickets early!

Review by Gregory E. Zschomler.
Cast photo by Darci Elliot, provided. Set photo by Gregory E. Zschomler.

The Murderous Maids of Brooklyn

by Dennis Sparks

This is one of the best spoofs of the mystery genre.  It was originally presented on Broadway with Boris Karloff in one of the key roles.  Later it was transferred to the screen with Cary Grant mugging horribly in the leading role and Raymond Massey playing the Karloff role.  A television version restored Karloff to his original role, with Bob Crane (Hogan’s Heroes) playing the hero.  It is a popular play to do in community theatres and was presented here, in all its glory, to a full house.

The story concerns Mortimer Brewster (David Roberts), a New York theatre critic, who frequently visits his maiden aunts, Abby (Melissa Haviv) and Martha (Lexy Dillon), in his childhood home in Brooklyn, which is set next to a graveyard.  He is engaged to the girl-next-door, Elaine (Melissa Schurman).

But, intruding into this idyllic setting is his brother, Jonathan (Dan Davis), a murderer on the lam, and his intrepid companion, Dr. Einstein (Duane Peterson), a drunken, plastic surgeon.  (In his latest botched surgery, his patient, Jonathan, has ended up looking like the Frankenstein monster, via Karloff).  And, if these characters aren’t enough to fill a loony bin, his two aunts have been…well, helping lonely gentlemen to find peace on the other side with the aid of some deadly, homemade Elderberry wine.

 

And we haven’t even mentioned [the other] brother, Teddy (Michael McElliott), who believes he’s the former president, leading charges up San Juan Hill (the staircase) and digging locks for the Panama Canal (the basement).  These latter items have a dual use, as resting places, also, for the aunts’ victims. 

All this madcap mayhem gives pause to Mortimer’s plans to marry.  As his off-spring just might have this [insanity] gene as well.  Stay tuned for a couple more twists and you have an odd, but enjoyable evening, a perfect comedy for the Halloween time of year.

The set, by Jeff Leuthold, is probably his best yet.  His ability to fill the space with numerous exits/entrances, a staircase and period furniture, and still have room for the actors to expound, is amazing.  He could rival any “professional” in this field.  And Melinda’s costumes perfectly fit the period. 

And, as the Director, not only does Melinda know how to utilize the space, but, for the most part, has cast the roles well.  Timing, at times, was an issue and the pacing could have been picked up more in spots, but I’m sure once the opening night jitters have been worked out, it will be neigh-on perfect.

In the key role of Mortimer, Roberts shines.  This is a role more of reaction than action, so the actor playing it must have a grasp of the double and triple takes.  Also he must have the ability of making the impossible seem plausible and he does.  His portrayal of the befuddled, bewildered and bothered character is wonderful.

Also, the murderous aunts must be played straight and kindly or the audience would be turned off by their nefarious doings.  But both Haviv and Dillon easily slip into this neverland between eccentricity and lunacy.  They actually have you cheering them on and wishing them success in their dubious endeavors.  A tribute to both of them.

I especially liked McElliott’s Teddy.  He did have some resemblance to the character and did a nice job of riding that thin line between reality and fantasy.  And, Davis, although he didn’t resemble Karloff’s creature, he certainly gave off the appropriate menace needed for the role.  You certainly wouldn’t want his grave countenance residing in your neighborhood.

This classic comedy was written by Joseph Kesselring and is directed by Melinda Leuthold (Love St.’s Artistic Director).  It will be playing at their space, 126 Love St. in Woodland, through October 27^th.  For more information go to www.lovestreetplayhouse.com

I recommend this very appealing show.  And, if you haven’t been to this vibrant community theatre, it’s worth seeing one of their productions, as I’m sure you’ll be a repeat customer.  If you do go, please tell them Dennis sent you. 

By Dennis Sparks, Guest Reviewer
www.dennissparksreviews.blogspot.com

REVIEW: "The Taming of the Shrew" at ART

The following bonus review [we rarely cover Portland theater] is by Dennis Sparks (with end notes by Gregory E. Zschomler) is taken from his excellent blog http://www.dennissparksreviews.blogspot.com/. I was able to attend with Dennis and I enjoyed the production very much. It rivaled anything I saw at the Oregon Shakespeare Festival and was one of the best all around plays that I have seen, professional or otherwise. Here is what Dennis has to say:

This comedy by Shakespeare is actually part of the Portland Shakespeare Project and is performed at Artist Rep’s space at SW Alder St. and 16th Ave. It is directed by Michael Mendelson, a member of their company and Artistic Director of the group. It plays in repertory with a stage reading of "The Tamer Tamed" by John Fletcher and directed by Michael Nehring through August 4. For more information, go to their site at www.portlandshakes.org

“Thereby Hang a Tale”

This story is familiar turf in Shakespearean comedies, as it employs his much-used device of double/triple identities and guises to mask true feelings/motives of individuals. And this tale is rampant with them. It all involves two daughters, Kate (Maureen Porter) and Bianca (Foss Curtis), of Baptista (Gary Powell), a wealthy merchant. Bianca, the “pretty” one, has suitors abounding, including Lucentio (Peter Platt), Gremio (David Heath) and Hortensio (Sam Dinkowitz). But Baptista is firm that she will not be wed until the eldest, Kate the cursed, the Shrew, is mated.

So Hortensio entreats his best buddy, Petruchio (James Farmer), a brazen, bravado of manhood to woo and win the aforementioned Kate. He does so by matching his boldness and wit to hers and thereby conquers her heart. But he feels he must bend her will to his and, through some elaborate ruses, manages this as well. Meanwhile, the youngest daughter’s suitors are busy plying their skills to enticing Bianca to be their bride. And, oh yes, this is all a play within a play, which confuses things even more with assumed identities. Believe me, you have to actually see it to sort it all out.

I have seen a number of stage and film productions of this show and even been in one myself. Overall, this is the best production I’ve seen. Others have had individual scenes which I’ve like better, but the overall concept and presentation of this production is superior, as far as I’m concerned, for a couple of reasons. 

 First, the cast is uniformly first-rate, not a sour note in the acting. Second, it is presented simply, in modern dress and with minimal sets and props, so that the audience is not overwhelmed by pomp and circumstance, which could clutter an already confusing story.

And third, and most important, is it is presented in “Conversational” Shakespeare, a method in which his words are approached as if they were a foreign language, thus having to make it conversational in presentation, in order that it is understood by today’s modern audiences. This is not a history lesson. Yes, the language is poetic and rhythmic, but if you don’t know what they’re talking about, it doesn’t work. And you don’t have to change the words to succeed at this. Period.

The wooing scene between the main lovers is priceless. And Farmer has all the necessary dash and flair to make his Petruchio a standard. Porter is his equal as Kate. She matches his antics at every turn. My personal favorites, though, were Dinkowitz as Hortensio. His every gesture, whimper and hound-dog looks were in perfect harmony with one of the Bard’s clowns. Grant Turner as Tranio, Lucentio’s servant, has the look of a young Don Johnson and his comic timing and flimsy bravado are in sync with this complicated character. And Nathan Dunkin as Sly, the “audience” for this play, underplays this role beautifully. All the right touches in all the right places.

But credit must ultimately be given to the master of this madcap marvel, Mr. Mendelson, the director. He certainly understands Shakespeare and pulls ever nuance out of this script and his actors, wherever it may be hiding. And his set, designed by John Ellingson, is easily manipulated and flexible for the many settings.

The only thing that doesn’t work, in my opinion, is the final speech. Although well-delivered by Porter, the “wink-wink, nudge-nudge” (Monty Python) aside really doesn’t cut it. Women’s groups and others have justifiably been outraged with the subservient tone of the speech, bowing to the “superior” male. Unfortunately those were the times in which the Bard was writing, as women weren’t even allowed to perform on the stage, and men had to play the female roles.

But, one presentation I witnessed had both the lead characters as mild individuals, but had to put on the mantle of the outrageous because that was what was expected of them within the circumstances. So the final speech of Kate’s becomes an “enacted” piece and, thus, we know that she is just “playing the role” of the shrew, tamed. Anyway, that worked.

I recommend this show. And I’m sure the “sequel” will be equally worthwhile to watch. It does involve some adult gestures but they are pretty tame. If you do go, please tell them Dennis sent you.

END NOTES By Gregory E. Zschomler:

Rarely do I attend a play where all players were wonderful. This cast, from bit part to lead role, was perfect. If I were to  chose a standout I would pick Sam Dinkowitz who was hilarious  but, well, so was everyone else. I know these were great actors, but much credit must be given to the director for inspired blocking and fight choreography, and for the brilliant leadership in the vision. A truly delightful set, well costumed, and the lighting design was stunning. I highly recommend you see this production. (And park in the theater's lot or garage as metered parking is outrageous, especially when inflated during soccer games.) Oh, and I disagree with Dennis about the "wink."

FREE SHAKESPEARE in the PARK

Two sets of twins make for mistaken identities and error.

The Portland nonprofit theater company Original Practice Shakespeare will present "Comedie of Errors" from 2 to 4 p.m. in Esther Short Park on Sunday, July 7. The event is free.

The troop, actually somewhat practiced by now, travels through the area parks presenting the Bard's material each summer.

And if you've not seen much Shakespeare, "Comedie of Errors" is probably the best introduction because it actually is very funny.

You can find out more and see a video of their shows on the OPS website by clicking here.

"Fuddy Meers" Opens Friday at Serendipity

Serendipity Playhouse presents the off-beat comedy "Fuddy Meers" by David Lindsay-Abaire, now through June 23.

A raucous comedy featuring the amnesiac Claire, her high strung husband Richard, and a mysterious savior with a limp, a lisp, and “plans.” Add in Claire’s take charge mother, her rebellious son, a foul mouthed puppet and a nervous cop and it’s no wonder Claire is confused.

“I’ve wanted to do this play for a long time,” reports artistic director Tony Broom.

“Fuddy [Meers] was on our

Mac Alexander, Tory Mitchell, and Cecilia Harper.
All photographs by Christopher Paradee, provided.

short list before we ever opened the doors. I saw it several years ago and it’s even funnier than I remembered. It’s also been great reuniting with actors I’ve worked with before and welcoming some talented new people to the company.”

WARNING: This play is not for everyone as it contains raw language and humorous references to substance use.

About the Play and Cast

“Fuddy Meers” is a contemporary comedy in two acts. “Fuddy Meers” features Alicia Marie Turvin, Tory Mitchell, Mac Alexander, Brian Reed, Jan Rosenthal, Gary Romans and Cecelia Harper. “Fuddy Meers” is directed by Tony Broom and Joni Moore.

Performances

Alicia Marie Turvin and Brian Reed.

Opening night is May 31 at 8:00 PM. The production run includes performances at 8 PM on June 1, 6, 7, 8, 14, 15, 21, 22, with Sunday matinee performances at 2:00 PM on June 9, 16, and 23. Thursday, June 6th at 8 PM is a "Pay What You Will" performance. All performances take place at The Serendipity Playhouse, 500 Washington St, Vancouver WA

Gary Romans with his
foul mouthed puppet.

Tickets

Tickets are $15 general admission and may be purchased online at www.serendipityplayers.org, or reservations can be made by calling 360-834-3588. Tickets are also available at the door. Doors open 30 minutes before the performance.

GET YOUR TICKETS HERE

Look for our opening night REVIEW by Dennis Sparks by noon Sat., June 1.

REVIEWS: I'm Falling from LLC's "Cloud 9"

The Lower Columbia College (Longview, Wash.) production of "Cloud 9" is a time-shifting British African comedy by Caryl Churchill. Both parody and spoof of the 1880s Victorian Empire and its rigid attitudes towards sex. The play shifts twenty-five years later to London in 1980 where all the characters' repressed sexual longings have evaporated along with the British Empire.

That's the official description, and no I didn't make an error with the dates or math. If it's confusing then take that as an indication of how the play will be, too.

The Play

I did not like this play. There were things I liked about the performance/ production, and I'll get to those, but for now I will address the writing. It wasn't that good. Yes, there are moments when the dialogue is quite real or humorous, but there is also a great deal of "nothing." Let me explain:

The material is not plot driven, nor is it strongly character driven; it is issue driven. I surmise this play was written to deliver a message--an agenda--or, possibly, to shock and push cultural boundaries. While each person must decide with their own conscience and convictions what they wish to pursue as entertainment, publicity materials should have carried a warning of some sort about the content, so people know what they're getting into. I'll close off this review with a summary of that material.

The Players

Overall the performances were well directed and offered with confidence and skill. The cast seemed comfortable with their roles and the things required of them. Most of the cast played dual parts in two different time periods and did quite well at developing two different personas (which were sometimes of opposite gender) with one exception.

Timothy R. Laughlin, whose delivery in Act I fit the character (wonderfully dry, droll and British) went unchanged and didn't work for his Act II character. The company notes read of Laughlin: "I'm not acting in this play, Don [Correll, the director] told me to just be natural." Seemed to have worked in Act I, didn't in Act II.

Standout performances were given by Nathan Clark as Clive, Shae Coleman as the boy Edward (also quite good as Victoria) and Diane Krane truly shined as Lin. Coleman, especially, has a very expressive face and is a fine actress. However, it was Wendy Howard-Benhem who shone brightest among the stars; her performances were (while some of the most uncomfortable of the play) superb. Dante Huffines was also amusing as Cathy.

The Production

The simple set was dull and unimpressive. I didn't even like the colors. It would have worked better with less. But the play isn't about the set. Costumes were fine, some were exceptional, others merely served. Overall technical production qualities were down from the usual high quality (maybe end of the year budget scrapings?) I've come to enjoy at LCC. The one exception was the lighting, which was impressive in design and execution.

A nearly perfect illumination by Donald A. Correll (also the stage director) with interesting and well-timed cues. The overall look include the right balance of down to front lighting with a good use of a limited color pallet (amber, nc blue, lemon yellow, daylight blue and highlights of red and a bit of green). Texture was used nicely at times and the two British flags were lit in a number of ways to dramatic affect.

The Precautions

The publicity materials should have come with a cautionary statement; something to the effect of "Warning: Explicit Content." I believe this is a responsibility when material and content of this kind is presented especially when no refunds are offered. If this were a film it would have garnered an R rating simply for the extensive use of the F-bomb, if not for other reasons. Here's a listing of content with which some might take issue:

Extensive and sometimes detailed sexual dialogue. Sensation is described during a simulated (under a skirt) act of oral sex; masturbation is frankly presented as a good thing; and embracing same-sex, both sex, multiple sexual partners and orgies are presented as satisfying and good. There is also much innuendo, though most things are discussed out-right. Other swear/curse phrases/words are used sparingly, but not the F word, which was pervasive. There is fondling of breasts (clothed), same-sex kissing, cross dressing, the use of slang terms for sexual body parts and suggested incest. There is also some suggested Eastern religion and possible drug use suggested within the orgy scene (which, surprisingly, is not presented sexually). Surprisingly, everyone remains dressed.

The Purchase 

The play runs now through May 25 and 30, and June 1 and 6-8. Showtimes are 7:30 p.m. Tickets may be purchased in advance from the LCC Bookstore in the Student Center, at Encore Concession in the Rose Center, or from the online ticket store. Tickets may also be purchased one hour before performances at the Rose Center Box Office. General Ticket Prices are $8 for adults, $7 for Seniors and are FREE to LCC students, faculty and staff, and children 12 and under. Location: 2323 Washington Way, Longview, Wash.

Review by Gregory E. Zschomler

The Following Review is by Dennis Sparks:

Identity Crisis

This play is labeled as “a hilarious look at sex and gender.” I found it neither funny (nor comedic), nor a serious look at sexual identity (especially Act I). There is no story as such in the first Act. It takes place in the 1880s during the British rule of South Africa. It is a scenario (and possibly comment) on the [sexually] repressed society of the Victorian Age.

It is, then, a ‘story’ of relationships. Now let’s see if I can keep this straight. In the first Act, Clive (Nathan Clark) and Betty (a male, played by Robert Loren) are married, but Clive is having an affair with Mrs. Saunders (Wendy Howard-Benhem), a widowed neighbor. Meanwhile Uncle Harry (Timothy R. Laughlin), who has been out in the wild too long, is having secret dalliances with Clive’s young son, Edward (a female, played by Shae Coleman), as well as Betty, Clive’s wife, but eventually marries the governess, Ellen (Susan Foytack), who also has a thing for Betty. And Betty’s mother, Maud (Diane Krane), doesn’t seem to like anyone. And a black tribesman (played by a white male, Dante Huffines), a servant, seems to have the hots for everyone. There, I think I’ve covered everyone. Confused? Join the crowd.

To make a comment about the Victorian Age being repressed is unnecessary, as that phrase alone stands for repression in most people’s vernacular. So, if one would wish to do a comedy on it, one should take the examples of Monty Python and do it broadly, as a farce. But the situations are delivered almost straight with a dry humor, at best. Doesn’t work. This is not the fault of the cast, who are quite good, but in the writing and/or interpretation. So, throw the first act out the window and proceed to Act II.

Act II takes place 100 years later (with the same cast of actors). [Editor’s Note: 1979, though it’s actually 25 years later due to some time-shift thing. Try not to be confused.] This time we have a comedy-drama format, which works much better. We have Lin (Diane Krane), a lesbian, who has a young daughter, Cathy (played by a male, Dante Huffines). Victoria (Shae Coleman) is having an affair with Lin, but is also married to Martin (Timothy R. Laughlin). Victoria’s brother, Edward (Nathan Clark) is in a relationship with Gerry (Robert Loren). And their mother, Betty (Wendy Howard Benhem) is just plain lonely. Again, a bit confusing, but played ‘straighter,’ with a large dose of drama thrown in to equal the humor.

It seems there are two distinct styles evident here. Had it been played that way it might have worked better, especially Act I. The first Act did get its share of guffaws from a select section of the audience, but it appeared it was because they were laughing at their friends in drag on the stage, instead of any actual humor from the play. Much of the audience was quiet. The second act fared better, as there was more meat to the story.

The set (Robert Cochran) was simplistic but, I suspect, was intended that way to go along with the cardboard or cartoon-like interpretation of the production. The lighting (designed by the director, Donald A. Correll) was quite good and the costumes (Jennifer Cheney) seemed appropriate for the periods. The director chose a good cast, but the conflicting styles between the two acts was jarring.

The cast were all very good and must have had a challenging time portraying, in most cases, two distinct characters. Coleman was especially good in playing a precocious boy in one segment and a sexy mom in another. And Huffines had an equally challenging reversal, playing a native African in one and a little girl in the other. Both excellent, as well as the whole cast.

I cannot recommend this play. The first act, as mentioned, I found boring and humorless and totally the wrong style for this sort of play. The second act is better, but the two acts don’t seem to sync as a statement of any sort. Also it might tend to offend a lot of people with its language and adult situations, as well as its depiction of the Brits [Editor’s Note: Which I thought was the funniest part of the show].

By Dennis Sparks, Guest Reviewer
www.dennissparksreviews.blogspot.com