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For the second play of their 96th season, the Whittier Community Theatre has chosen the gently comic “The Curious Savage” by John Patrick. In a time when the battle between decency and avarice is played out in the news and on all forms of media on a regular basis, the play itself seems particularly apt. The quietly wry wit of Patrick’s play, and its message to humanity, have kept in relevant even as a few other aspects seem somewhat dated.
The setting is 1950, and an institution called The Cloisters – a home for persons who are wrestling with the balance between their hopes and fears and what the world deems as real. Into this calming but unique community arrives Mrs. Ethel Savage, the widow of a wealthy man. She has been placed in The Cloisters by her three step-children, determined to stop her from frittering away the millions they expect to inherit.
Mrs. Savage, having doted upon her husband from an early age, is now determined not only to act out the silly wishes she kept dormant, but to form a fund to let others do the same: an appallingly crazy concept to the determined trio who have committed her.
In The Cloisters, she encounters five damaged but sincere individuals to whom she listens and with whom she develops a unique rapport. As it becomes increasingly obvious that the step-children do not have her best interests at heart, it is these “inmates”, and the doctor and assistant who attend them, who may be able to rise to the occasion and prove her right to her own desires.
Though the WCT production starts a bit slow, it builds into a very likable piece. As the step-children, Gary Page’s pompous US Senator proves sharp and commanding, Frank McCay’s childish judge has just the right whine, and Elizabeth M. Desloge (despite a somewhat unfortunate wig) makes a most focused money-grubber. Richard De Vicariis, as the presiding doctor, manages one of his best, gently underplayed performances. LIkewise, Amy Miramontes proves warmly humane as the attendant nurturing the institution’s inhabitants.
As for the inhabitants, Janet Arnold-Clark makes sweet work of the woman whose fantasy keeps her dead little boy alive, and Jeffrey Buckner-Rodas, as a man convinced he can play the violin, proves both earnest and charmingly suggestible. Carlos David Lopez unwinds gradually as a man so stricken with survivor’s guilt he carries it into self-image, while Cindy Cisneros gives the young girl desperate to deserve love and attention a quirky gusto. Best of the lot is Julie Breihan’s truly funny Mrs. Paddy, who hates everything with a spectacular sulky look and delivery.
Mrs. Savage herself must, rightly, be filled with an energy which powers her ability to connect with her fellow inhabitants, and defines the drive to circumvent her wastrel stepchildren in order to achieve her dreams. Cindy Beck, a WCT regular in a number of capacities, warms to this gradually, so that her best version of Ethel arrives after the intermission. From then on, she commands the proceedings, creating an atmosphere of warmth, and underscoring the play’s central points.
Mark Frederickson’s set makes good use of Whittier Community Center’s long, slender stage, giving a realism to the piece. Karen Jacobsen’s costumes generally, if not precisely, reflect the period. The ending piece – a picture of what the inmates see when they look in the mirror – proves particularly striking, when it arrives.
Director Lenore Stjerne has a feel for the point and the humor of this play. Indeed, the playwright’s abjuration that the “inmates of The Cloisters be treated with warmth and dignity” is obviously focal to her pacing and structuring of the performances. As a result, what one finds is a contrast between dreamers and takers, between human kindness and self-focus. In the end, this may be the most important thing about going to see “The Curious Savage.” Who actually is a savage provides a pointed finger at what so many have or yearn to become.
As part of their annual Thanksgiving drive, bring a non-perishable food item to the box office and receive a free goodie (they have brownies!) at intermission. All contributions will be donated to the local food bank.
What: “The Curious Savage” When: through November 18, 8 p.m. Fridays and Saturdays, 2:30 p.m. Sunday, November 12 Where: Whittier Community Theatre at The Center Theatre, 7630 Washington Ave. in Whittier How Much: $15 adults; $12 seniors (62 and over), juniors (18 and under), students, and military with ID Info: (565) 696-0600 or http://www.whittiercommunitytheatre.org
In the long and impressive line of theatrical comedies by Neil Simon, few really qualify as farces. To be a farce the story isn’t really about rounded people, but about the silly juxtaposition of persons in compromising situations with unforeseen events. For Simon, the comedy was usually more organic, even when the results were very silly: the people and their personalities underscored the humor. Indeed, as his career progressed, it was much more about the people than the laughter and the plays became more real, more nuanced, and more powerful.
However, Simon did write one genuine, door-slamming, mistaken-identity-filled farce. Now that play, “Rumors” is at the Whittier Community Theatre, and the results are – for the most part, anyway – just as funny as they should be. The actors play the over-the-top characters with great energy and style. The setting is as fraught with exhausting drama as it should be, and the results are very funny. If, on occasion, the pacing of the comedic lines slows a bit, that is something that can be overcome.
Four couples arrive, in stages, at the home of a fifth couple having an anniversary celebration. Mystery ensues, as the help has disappeared, as has the woman of the house, and her husband is found upstairs, offstage, stunned and bleeding from a gunshot wound. As the first couple to arrive tries to cover for the disaster, gradually aided or thwarted by the rest as they arrive, the misconstructions, fabrications and frustrations wrap the eight guests in a series of ridiculous situations. And then the police arrive.
This whole silliness is led in every way by Jay Miramontes and Michelle Pedersen as the Gormans, first uncovering the mystery then balancing hair brained schemes with careful coverups, aided on occasion by more than enough vodka and a real sense of performance polish. Kerri Malmgren and Jason Falske provide the next comic element as a calm society woman and her husband, so obsessed over the accident which has damaged his brand new Mercedes the house’s mysteries are just an additional frustration.
The warm and homey Cleta Cohen and Richard DeVicariis provide the practical element, comparatively nonplussed by the silly situation and focused on more basic needs of the rest of the thwarted party-goers. Michael Moore and most particularly Lindsay Marsh provide yet one more layer as the politician who can’t be associated with the obviously developing scandal and his paranoid wife devoutly sure her husband is full of scandals anyway.
Under the direction of Justin Patrick Murphy, this silly piece starts just a bit slow, but seems to rev up as the stage fills. Every once in a while someone, particularly Moore, seems to wait just a bit long in a play whose lines must consistently appear with whipcrack speed, but the comedy definitely wins out and the characterizations are strong and a lot of fun. Kudos to Amy Miramontes for gathering clothing just right for the kind of evening these characters are expecting and the kind of people they are. The costumer doubles, along with Andy Kresowski, as the stern and precise police duo who show up trying to sort out the craziness.
In short, this “Rumors” is a lot of fun. I admit to being rather a fan of farces, as a particularly carefree way to slough off the pressures of the everyday. This one is definitely worth a look, and, in the hands of this company of players, stays satisfyingly silly to its unpredictable but equally funny end.
What: “Rumors” When: Through June 13, 8 p.m. Fridays and Saturdays, 2:30 p.m. Sunday, June 7 Where: Whittier Community Theatre at The Center Theatre, 7630 Washington Ave. in Whittier How Much: $15 Adults, $10 seniors (62+), juniors (18 and under), students and military with ID Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org
The musicals of the post-WWII years can be a fascinating window on American society at the time. Suspiciously anti-social rock stars were followed by swooning teens and made household words by Ed Sullivan. Corporations were endemic, and the fodder for satire. Unions were virtuous, not to mention victorious when fighting unreasonable management.
That last, of course, was best exemplified in the charmingly silly musical “The Pajama Game,” now enjoying a brief but spirited revival at the Whittier Community Theatre. I have a personal fondness for the show, though I know it is now seen as somewhat obscure. Still, even if it isn’t familiar to you, the score probably is, featuring hits like “Hey There,” “Hernando’s Hideaway,” and “Steam Heat.”
The story is simple enough: Sid, a young and handsome factory supervisor who’s new in town, falls for Babe, the head of the union’s grievance committee. As a strike nears, their romance runs into conflict with the management-union struggles of the pajama factory where they both work. Other office workers dabble in romance, rage with jealousy, or just look on with wry amusement.
At Whittier, this “Pajama Game” has much to recommend it, even if there are a few weak spots. Amy Miramontes is charming as Babe, with an aura of worldly-wise sophistication and a charming voice. As Sid, Jason Miramontes (Amy’s husband) proves handsome and energetic, creating a charming version of this often rather wooden character, though he needs to work just a bit on pitch when he sings. Beyond the leads, the standout, if brief, performance has to be Eric Nelson as Babe’s tolerant,. charmingly uncomplicated Pop.
Other performers worthy of particular note are Tina Quick-Snedaker as Sid’s wise and motherly secretary, Justin Patrick Murphy as the lascivious union Prez, Greg Stokes as the wildly emotional time-study man Heinzie, and Jeri Harms as the intense, sensual corporate secretary Gladys – over whom Heinzie hovers. Isabella Ramirez, Becca Schroeder and Jennifer Bales do a reasonably Bob Fosse-style “Steam Heat” – the particular triumph of Schroeder’s choreography.
Indeed, the entire cast proves likable, even if there are moments of varying skill.
Director Roxie Lee has taken this episodic tale and kept the pacing moving, thanks in part to her self-designed, minimalist set. She keeps the characters earnest and well connected to each other, which adds to the flow. Musical director Brian Murphy succeeds in celebrating the sheer tunefulness of this show, including putting together a solid orchestra. Karen Jacobson gets a major nod for managing convincingly period costuming on a community theatre budget.
In short, “The Pajama Game” is a window on another time and another ethos. It is tuneful and endearing, and lets a younger generation know that those old folks weren’t quite as pure as it may seem. And it’s fun. You will easily find yourself humming the tunes as you leave, and wondering what happened to the whole universe in which this little tale takes place.
What: “The Pajama Game” When: Through September 20, 8 p.m. Fridays and Saturdays, and 2:30 p.m. Sunday, Sept. 14 Where: Whittier Community Theatre at The Center Theatre, 7630 Washington Ave. in Whittier How Much: $20 general, $15 seniors/students/military with ID Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org