'Barefoot in the Park', by Neil Simon, produced by Placer Community Theater, at The General Gomez Art & Event Center, Lincoln Way, Auburn CA. Remaining performances: March 9, 10, 16 & 17 at 7.30pm; March 4, 10, 11 & 17 at 2 pm. Tickets $25 at the door; $22 general seating in advance; $18 seniors/students/groups. Ticket includes dessert. Go to: www.pcttickets.org - and DO hurry: the two opening performances were sold out, and tickets are selling fast, because ...
Simon's witty, nicely crafted comedy, featuring a gallery of utterly believable characters is - like all great comedies (and I use 'great' in its true sense here), not at all easy to do justice to. The cut-and-thrust of the intricately constructed, nuanced dialogue requires deft timing and energetic delivery. The same level of energy is required in the physical movement and interplay between the characters. There are plenty of 'run-of-the-mill', more-or-less competent professional and amateur performances you can go and see in the Sacramento/Placer County areas; but very few remarkable ones.
This production is clearly in the latter category. Deftly and subtly directed by Yolla Mering Ryder, with verve and pace, and with generous helpings of appropriate comic business, the play moves along as rhythmically and lyrically as the early sixties songs with which this production is interlaced. And with a final curtain-call flourish - a touch of directing genius, actually - the two romantic leads break into an exquisite rendition of Kaempfert & Gablers' 'L-O-V-E', the song made famous by Nat King Cole.
The 'period' music is complemented by Linda Taylor's authentic, fitting (sorry!), costumes. But don't think this is merely a nostalgic 'costume job': the play's universalities of faith in humanity and belief in love, realized through often absurd and un-wise words and actions, rise above time and place, and speak directly to us, to our hearts. We see ourselves in the romantic yet uncomfortable relationship between the young, newly-wedded Paul and Corie Bratter (both brilliantly rendered by Aubrey Harwell and Elizabeth Garbe respectively); and the insecure, consistently alarmed and dismayed mother of Corie, Ethyl Banks - portrayed with great skill and humor by Lorraine Poston (featuring a nervous laugh to die for!). She and the rakish neighbor Velasco, played with a faux-gentile, rakish hilarity by John Watson, are an unlikely, but perfect, match.
The quality of the acting is consistently fine throughout, evidenced not only by the lead actors: Eric Stone's classically sardonic 'Noo Yoik' telephone installer, and Evan Riffey's cameo presence as the Lord & Taylor delivery man, are genuinely human enhancements to this lovingly crafted, lovely production.
It's so great to come out of a theater with a restored faith in humanity and the power of love; not in a sentimental way, as in 'Beauty and the Beast' or 'It's a Wonderful Life', but through sharing, for two all-too-short hours, the lives of these flawed, eccentric, funny, bemused mirrors of ourselves.
By IAGO "I am nothing if not critical"
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