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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
Over the past couple of years, one of the last of the strongly supported community playhouses, the all-volunteer Whittier Community Theatre, has produced several spunky productions of American musicals. Most particularly, their “Into the Woods” was quite stunning, and shows like “Quilters,” and “The Pajama Game” have garnered worthy praise. Thus, when I saw that their new production of the spoof of classic westerns, “Johnny Guitar,” leaves much to be desired, it does not come from the company’s amateur status, but from a misread on the part of those organizing the production.
“Johnny Guitar,” by Nicholas van Hoogstraten, Joel Higgins, and Martin Silvestri, takes the standard western formats and, if done right, plays them all with tongue firmly in cheek. Even the story sounds like all the B-westerns from the heyday of such things. Miss Vienna, a bad girl gone good, owns a bar outside a small western town – a town operated in tandem by Emma, the daughter of the founder of the town bank, and McIvers, the area’s largest landowner and rancher. Emma, holding a secret passion for the outlaw The Dancing Kid, is out to destroy Vienna for her supposed romantic connection to the Kid. Into all of this rides a man of height and heart bearing a guitar instead of a gun. But does he have a more violent past? Will he help Vienna?
Yes, it’s just that silly, and the staging should add more. Sound effects must be huge, choruses should appear from behind rocks, furniture, curtains, etc. Everything must be played large and melodramatically, resulting in almost constant chuckles and some significant outright laughter. Visual comedy can be emphasized, like constant references to Johnny’s being so tall, when the actor is not. It should be fast-paced, and moderately ridiculous. That’s what makes it work.
The production at WTC can’t seem to make up its mind whether it is going to play the thing straight, and thus awkwardly, or live up to the wry humor of the script. At the start, it shows promise, when the opening ballad has the chorus suddenly pop out from behind the saloon bar, and continue singing unphased when one of their number is gunned down. The sound effects are right, and the minimalist set has just the right elements. Some of the cast – most especially Jonathan Tupanjanin, as the youngest of the outlaws – can really sing up a storm, and for the most part all sing with enough energy and conviction to make it work.
But it’s uneven. They get serious too often, and that seriousness slows things down. Sometimes the chorus sings from offstage, when having them appear, sing, and disappear would have given more stage business, and more comedy to something which begins to feel drawn out.
As Vienna, Mallory Kerwin has the heart for the thing, and a powerful voice, but is visually wrong. She should look like a slightly more risqué Miss Kitty (for old “Gunsmoke” fans) but spends much of her time in an outfit more suitable to Dale Evans. Matt Berardi has great potential as Johnny. He has the swagger and the overly cool delivery down. There could be much comedy, though, as in his “playing” of a guitar which obviously has no strings, which is otherwise just kind of awkward.
Lindsay Marsh is solid – that is, slightly overdramatic and intensely repressed, just as she should be – as the vicious Emma, while Greg Stokes makes a stolid and gruff McIvers. Jay Miramontes truly enjoys his role as The Dancing Kid, though the dancing should be emphasized more, particularly if it’s going to be as intentionally unimpressive as it appears when he finally performs. Justin Patrick Murphy, Andy Kresowski and Richard DeVicariis have a lovely time playing henchmen, posse members, bartenders and the like, and, joined with Tupanjanin, becoming the chorus for song after song.
The live band accompanying them is small but good. The mics need to be balanced more, as some (especially Kerwin’s) are cranked up too high while others are very hard to hear. Special kudos to the stage crew who utilize the elements of Mark Frederickson’s very facile set design to change scene quickly and keep the pace going.
In short, this is good enough that it should have, and could have, been better. Consistency in the over-the-top melodrama of the piece would have let to more laughter (though there definitely were some funny moments) and made it all feel more cohesive. Director John S. Francis is experienced enough to know that this. What this show needs is real tongue-in-cheek everything, as the story line is just as light as the old Saturday serials, and the music is memorable more as a satire on musicals and westerns than as great art. Still, this company deserves the community’s support. Community theater, where volunteerism is prized, is always worth supporting.
What: “Johnny Guitar the Musical” When: Through March 7, 8 p.m. Fridays and Saturdays, and 2:30 p.m. Sunday, March 1 Where: Whittier Community Theatre at The Center Theater, 7630 Washington Ave. in Whittier How Much: $20 general, $15 seniors, students and military with ID Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org