If you have ever looked up a review of Ken Ludwig's Twentieth Century (adapted from an adaption by Ben Hecht and Charles MacArthur, to give credit where credit is due), I believe you would be concerned. As it so happens, I read several in preparation for experiencing the eagerly-anticipated (by me, at least) Utah State production of the depression-era comedy. And as it so happens, I was slightly concerned. Let me give you a taste of what the critics were saying:
Matthew Murray of "Talkin' Broadway" described it as "one of the most unnecessary and desultory rides of the season" adding that the work had been "twisted, routed, and adapted...into flavorless unrecognizability." (Is 'unrecognizability' a word? Spell check seems to disagree.)
In Steve Palopoli's review of the TheatreWorks production he apparently felt that they "didn't quite pull it off," that while playwright Hecht wrote plenty of masterpieces in his time "this wasn't one of them," and that the plot "grows tedious."
Simon Saltzman, writing for TheatreScene.net, at least gave a nod to the supporting cast, noting that they give a "decided lift to this otherwise labored...production.
Even in the one positive review I read from Hope Baugh at the Indianapolis Civic Theatre, she admits that she "didn't find it hilarious...but...uniquely enjoyable," calling it "amusing," "elegant," and "romantic."
So, having no prior knowledge of this or any other version of the show, I entered the theatre this evening, still eager, but more eager for this production not to fall as flat as all the others apparently have in recent years. Now, two hours later, I sit here wondering if we saw the same play. I thought it was supurb! I laughed pretty much continuously throughout the show, as did the rest of the audience. So, are my tastes unrefined? Am I easily pleased? I never thought so before, I guess I don't think it matters. Tonight's cast did themselves proud.
Of course, my first impression (as it was hard to miss) when I walked into the theatre was that the set was remarkable (kudos to USU's Spencer Potter). It appeared to be the better portion of a train car, complete with platform, and spiral staircases to an upper dining car. My description hardly does it justice, but I was impressed. Little did I know... Scene 2: the whole train car spun around to reveal two interior suites! Needless to say, I am not a designer, but to me it looks super impressive to have a single set piece that large spinning ponderously on its axis. They should have been blaring Wagner in honor of the feat of engineering.
I must also give a nod of appreciation to costume designer Nancy Hill (assisted by Bethany Deal and ATC's very own Rufus ZaejoDaeus!) for her off-beat and often outrageous costumes. Lily Garland's constantly changing wardrobe was delightful...particularly the spectacular prison-striped halter jumpsuit.
As for the actors, I thought the cast was, in general, outstanding. I have to agree with Mr. Saltzman: the supporting cast was terrific. Some credit must surely be given to the playwright(s) for creating such rich characters, but the actors made them memorable. Two of the most notable performances of the evening (for me) came from Gordon Dunn, whose frank portrayal of the wise-cracking 'Owen O'Malley' made him easily the most likable character in the show despite his drinking and womanizing, and Christian Parsons who so skillfully embodied the bible-beating, sticker hurling, possibly dangerous ex-CEO/conman/escaped lunatic 'Matthew Clark' that you were never sure what to believe.
Not that I would want to neglect the rest of the cast: Cameron Parsons (Max Jacobs)'s physical comedy was as capricious as ever; Tim Roghaar (Beard) was predictably versatile as the quirky German actor (and I loved the accent!); Angela Roundy (Ida Webb) channeled Amy Fowler through the efficient, say-it-like-it-is business manager; and Lance Rasmussen (Dr. Grover Lockwood) and Rachel ZaejoDaeus (Anita Highland) were, respectively, at their earnest and flirty bests as a neurotic doctor/aspiring playwright and his pampered, outspoken mistress.
Rounding out (or perhaps topping off) the troupe was Mackenzi van Engelenhoven (Lily Garland), whose performance was an impressive balance of flounce, hysterics, charm, and intelligence; and Jason Craig West (Oscar Jaffe) who, barring a flubbed line or two, was convincingly larger-than-life and takes the award for Best Death Scene I've Seen in a While. I wasn't sure whether to laugh or cry. *wink wink* I was sincerely concerned, actually. The play had been pure comedy up to that point and I was in a certain amount of agony over whether or not the playwright would pull a fast (and devastating) one on us. In the end, I believe it was well-handled.
In keeping up my track-record of ungraceful conclusions, I would like to end with "Most Notable Quotes" for your enjoyment. (Please note that I jotted these down from memory, so if they are misquoted, do let me know.):
TWENTIETH CENTURY QUOTES:
Lily Garland--"Yes, I tried to save you pain. I lied, yes, to save you."
Oscar Jaffe--"That's from Sappho!"
Lily Garland--"Get out."
Lily Garland--"They were all lies!"
George Smith--"There was no midget?"
Lily Garland--"There were two midgets!!"
Oscar Jaffe--"Dear John: I am in the market for 25 camels, several elephants, and an ibis. Give me the rock bottom price."
Oscar Jaffe--"Go on, Owen, tell her I'm dying...and don't overact!"
By Ben Hecht and Charles MacArthur, based on a play by Charles Bruce Millholland, in a new adaptation by Ken Ludwig. Directed by Leslie Brott. Sets by Spencer Potter; costumes by Nancy Hills; lighting by Mauri Anne Smith; sound by Ben Bielefeld. Presented by the Utah State Theatre Department, Ken Risch, Dept. Head. At the Morgan Theatre on the Utah State University campus.
WITH: Jason Craig West (Oscar Jaffe), Mackenzi Van Engelenhoven (Lily Garland), Robert Burdzy (George Smith), Gordon Dunn (Owen O'Malley), Jacob Marquez (Detective/Ensemble), Cameron Parsons (Max Jacobs), Christian Parsons (Matthew Clark), Lance Rasmussen (Dr. Grover Lockwood), Timothy Roghaar (Beard), Angela Roundy (Ida Webb), Jackson Simmons (Conductor), John Terry (Porter), and Rachel ZaejoDaeus (Anita Highland).
No comments:
Post a Comment