The Man Who Came to Dinner (Berea Summer Theatre)

Man shouldn't have come to dinner at Berea Summer Theatre

George S. Kaufman and Moss Hart only wrote plays together from 1930 to 1940. But, what a ten years those were! So important were their contributions that they are often compared to the likes of Gilbert and Sullivan or Rodgers and Hammerstein.
After 1940 the two did not work together again--not because they had a falling-out, as was the case with Gilbert and Sullivan, but because Hart had a psychological need to prove that his success was not due to a dependence on Kaufman.

Their collaborations included Once in a Lifetime, Merrily We Roll Along (1934), You Can’t Take It with You (1936), I’d Rather Be Right (1937), The Fabulous Invalid (1938), The American Way (1939), The Man Who Came to Dinner (1939), and George Washington Slept Here (1940). Their shows mirrored the era during which they wrote and, because of that, are in limited production today.

'THE MAN WHO CAME TO DINNER' centers on Sheridan Whiteside, a famous radio and newspaperman who, while on a speaking engagement, is invited to dine at the home of a small town Ohio family. On the way out of the house he slips on their doorstep breaking his hip, and a tumultuous six-week confinement follows. Sheridan is irascible. Ex-convicts are invited to meals, transatlantic calls bring a huge phone bill, strange gifts arrive including penguins, an octopus, 50,000 cockroaches, and a mummy case. When Maggie, his secretary, falls in love with a local reporter, Bert Jefferson, Whiteside summons a glamorous actress, Lorraine, to win the affections of the young man so that Maggie won’t leave his employ. Eventually, when all the problems seem to be resolved, Whiteside departs from the Stanley's home, but a second later a crash is heard.

The character of Sheridan Whiteside is based on Alexander Woolcott, the drama critic of THE NEW YORK TIMES, who was an outsized and extravagant egotist. The character of Banjo is based on Harpo Marx who Kaufman knew well after writing the scripts for the Marx Brothers films 'ANIMAL CRACKERS' and 'A NIGHT AT THE OPERA.'

One must ask why Berea Summer Theatre decided to stage 'THE MAN WHO CAME DINNER.' It is a very dated, overly long show that has been mostly unsuccessful in its latest rebirths. Nathan Lane’s television version was a critical and commercial flop. Last year the Shaw Festival’s attempt was met with negative critical and audience reactions. Who cares or even knows about The Wagner Act, John L. Lewis, Zazu Pitts, Philo Vance, True Story Magazine or the ditty “I ‘m just a wittle wabbit.” To add to the problems is the huge size of the cast, the necessity for actors to portray farce, slapstick and comedy with ease, and lots of props and costumes.

The BST production just doesn’t work well. The pace is slow, the characters often not well drawn, the quality of the acting is often wanting, and some of the production values are questionable.

Jean Colerider is delightful as the frustrated nurse, Mary Faktor’s wide eyed eccentricism is right on key for creating the mysterious sister, Meg Chamberlain develops a clear character as the secretary, and the audience-pleasing Kevin Joseph Kelly is hysterical in portraying the Harpo Marx-like Banjo. The kid’s chorus is one of the highlights of the show. Dudley Swetland, as Sheridan Whiteside, has some fine moments, but does not create the layers of what should be an overblown curmudgeon. Barbara Corlette fails to convince as the sexy globe-trotting actress.

Jeffrey Smart’s costumes are basically period correct. The set is weirdly-colored and rather shabbily constructed. Many props were unreal. The shabby box with the penguins kept changing in weight according to who was carrying it. The cockroach carrier was wrapped like a cardboard gift package. Letters and bills were obviously not real.

Capsule judgement: 'THE MAN WHO CAME TO DINNER' is a dated show that gets a marginal production at BST.

The Melody Lingers On...The God Belss America Musical (Berea Summer Theatre)

Pleasant Meldoy lingers on at Berea Summer Theatre

Summer is made for relaxing, reminiscing, and pleasant times. Berea Summer Theatre’s THE MELODY LINGERS ON...THE GOD BLESS AMERICA MUSICAL, which is based on the songs of Irving Berlin will satisfy all those summer needs.

Irving Berlin was born in Eastern Russia in 1888. His family moved to New York in 1893 to escape the pogroms. At the age of eight, he took to the streets of the Lower East Side of New York City to help support his family after his father had died. In the early 1900s he started writing songs. His first published hit was "Marie From Sunny Italy."

In World War I he wrote the musical YIP, YIP, YAPHANK which included the hit song "Oh, How I Hate to Get Up in the Morning." On Armistice Day, 1939, he introduced "God Bless America," which was sung by Kate Smith (a filmed version of this is included in the BST production). This song threatened to replace the national anthem because of its popularity. In World War II, he wrote the musical THIS IS THE ARMY, which contained "This is the Army, Mr Jones" and “I Left My Heart at the Stage Door Canteen."

Berlin was prolific. He wrote more than 900 songs, 19 musicals, including the legendary ANNIE GET YOUR GUN, and the scores of 18 movies. Some of his songs that have become classics include "There's No Business Like Show Business," "Easter Parade," and "White Christmas."

Following a 1988 gala 100th birthday celebration concert at Carnegie Hall, Morton Gould, president of ASCAP, said that "Irving Berlin's music will last not for just an hour, not for just a day, not for just a year, but always." Songwriter Jerome Kern observed "Irving Berlin has no place in American music. He is American music." Not bad for a poor immigrant who had only two years of formal schooling and who never learned to read music! Irving Berlin died on September 22, 1989, at the age of 101.

THE MELODY LINGERS ON...THE GOD BLESS AMERICA MUSICAL chronicles Berlin’s life and music, with an actor portraying Berlin acting as the narrator.

Director/choreographer Eric van Baars has developed a pleasant show. There are neither stirring moments nor disappointing flaws. The 10-person cast is competent, the music well presented, the choreography nicely developed. Scenic designer Todd Kripsinsky’s mutli-leveled piano-motifed set works well. The use of real slides and pictures of Berlin’s life was a production enhancement. Jeffrey Smarts’ costumes are nicely conceived.

Show highlights include the cleverly choreographed “When the Midnight Choo Choo Leaves for Alabam’,” the flapper era ditty “Shaking The Blues Away,” “ the energetic “Steppin’ Out With My Baby,” and the creative “Let Yourself Go.”

Capsule judgment: One of the show’s lines states, “The evening was electric.” No, the evening wasn’t electric, but it is pleasant and reminiscent and relaxing. It makes for a nice summer entertainment.

The Will Rogers Follies: A Life in Revue (Berea Summer Theatre)

'WILL ROGERS FOLLIES' a creative delight at Berea Summer Theatre

Every once in a while a theatre-goer has a very special evening in the theatre. It doesn’t happen often, but it does happen. It takes place when the script, the music (if it’s a musical), the directing concept and the talent all come seamlessly together. Such was the case at Berea Summer Theatre when it opened its summer season with 'THE WILL ROGERS FOLLIES: A LIFE IN REVUE.'

The musical takes us on a delightful and sometimes touching ride through the life of Will Rogers, one of America’s folk favorites. Famous for such lines as “Never met a man I didn’t like” and “live your life so that when you lose, you are ahead,” Will Rogers rose from school dropout to being one of the most respected political philosophers of his day. His philosophical renderings appear in six books, scores of magazine articles and 4,000 syndicated newspaper columns. He performed in 71 movies where he seldom learned the script, preferring to ad lib. He is probably best known for his nightly chats with the audience as part of the Ziegeld Follies. Drawled comments like "We'll be the first nation in the world to go to the poor house in an automobile," displaying the disparity between rich and poor during the Great Depression, endeared him to audiences. Sometimes called the “Poet Lariat” based on his ability to perform outstanding rope trips while talking to the viewers, he won a slot in the GUINESS BOOK OF RECORDS.

Though the show’s individual songs are not memorable, the score won a Tony Award for writers Cy Coleman, Betty Comden and Adolf Green. THE WILL ROGERS FOLLIES: A LIFE IN REVUE was awarded the Tony as the best musical of 1991. The show played to more than four million persons during its first two years on Broadway and three companies that toured the United States and Canada.

Under Lora Workman’s leadership, THE WILL ROGERS FOLLIES: A LIFE IN REVUE is a very professional amateur production. There are no stars next to the names of the performers, stars that represent membership in the Actor’s Equity Association, but there are stars all over the stage. Workman , acting as both director and choreographer, is not only creative but obviously a perfectionist. The kick lines were polished, the splits well executed, the cartwheels twirled as they should, the patter moves were met with extended applause, the stage pictures exciting, and the enthusiasm was caught by the entertained audience. The entire cast obviously understood the show’s concept and learned and polished the many complicated and enthusiastic dance numbers. Workman did what many directors don’t do..she paid attention not only to the leading performers, but to the acting and dancing choruses.

The technical aspects of the BST production support the show. Scene designer Ron Newell’s red, white and blue leveled set worked well. Gina Leone’s lighting helped create the varying moods. Jeffrey Smart’s massive number of costumes were creative. The only technical flaws centered on sound glitches when performers’ mikes did not work.

Steve Higginbotham was inconsistent in his Will Rogers characterization. His first act performance was partally surface. Forced facial expressions, overly articulated diction, difficulty with the Oklahoma speech cadence and surface emotions were present. The veneer vanished in the second act when he seemed to transform himself into a natural Rogers. This was especially true in a long emotionally-charged soliloquy. He sings well and dances with ease.

Kimberly Lauren Koljat who portrayed Rogers wife, Betty Blake, has a nice voice and an infectious smile. Amanda Folino was wonderfully ditzy as Ziegfeld’s Favorite. She is a polished dancer, a fine song stylist and has a fine sense of comic timing. Chuck Burneson, a professional roper, received extended applause for his rope tricks. The Rogers kids, portrayed by Kyle Branzel, Jenny Sherman, J.P. Gagen and Richie Gagen were engaging. The singing and dancing choruses were amazingly adept.

Capsule judgement: 'THE WILL ROGERS FOLLIES: A LIFE IN REVUE' at BST is one of the finest productions in the theatre’s history. If you want a pleasurable evening of summer entertainment go, see, enjoy and as the BST motto states, “And tell your friends!”