PLAYTIME – Volume 1...All Plays – No Musicals!

PLAYTIME – Volume 1

All Plays – No Musicals!

A variety of plots, styles, and cities with New York, Chicago and London represented. Today's plays include the distaff version of an iconic Neil Simon comedy; one of the funniest plays I've seen about one man with two guvnors; a delicious slice of life play with a spectacular set; the trials and tribulations of an Upper West Side matron; a wildly successful London and New York hit that left both Bob and I underwhelmed; and finally, three plays by the estimable TimeLine Theatre of Chicago.

Let's get started.

THE ODD COUPLE – Shubert Theatre, Chicago

For whatever reason, I can't find my program, but this display ad from the Chicago Tribune serves well as the credits page.

from the Broadway Playbill.

from the Broadway Playbill. Look how young, and, frankly, hot Tony Shalhoub looks circa 1985. FYI: In the mid 90s, I had the honor of seeing Julie Wilson at the Algonquin. Not much voice remaining, but her elegance, presence, and her way with a lyric overcame any vocal limitations. A true cabaret legend.

November, 1984. Not even twenty years after its Broadway debut in 1965, Neil Simon's hugely popular comedy about two mismatched roommates was beginning to show some wear and tear around the edges. Reworked by author Neil Simon to accommodate a gender switch for all of its characters, this version, on the first stop of a lengthy tryout tour prior to Broadway, was entertaining enough, but also often lurched and fumbled about trying to get its laughs. The result wasn't a female The Odd Couple per se, but instead an awkwardly written piece that sat uncomfortably on its original source material. Heading up the cast were EGOT-winner Rita Moreno as Olive Madison, née Oscar Madison, the slob, looking chic and stylish even when she tried to look messy and not put together (I mean, after all, it is Rita Moreno!) and Sally Struthers, post All in the Family, as Florence Ungar, née Felix Ungar, the neatnik, looking kind of thrown together and more slob than neatnik. They worked hard and earned their laughs with professional aplomb. The card players, Marilyn Cooper, who arguably was the best thing in the Lauren Bacall-starring Woman of the Year, Jenny O'Hara, seen in 1971 in Promises, Promises, Mary Louise Wilson, who would go on to win a Tony for her memorable performance in Grey Gardens, and Kathleen Doyle, a Goodman graduate, were all fine in what I've always felt were tacked-on roles. In this edition, the Pigeon Sisters became the Costazuela Brothers from Barcelona in a malaprop-laden performance that teetered dangerously towards stereotype, but thanks to the endearing performances of Tony Shalhoub, in what would be his Broadway debut, and Lewis J. Stadlen, who decades later would underwhelm me as Max Bialystock in the tour of The Producers, it never crossed that line. I'm sure in 1984, this gender switch seemed like a great idea, even a groundbreaking one, but, unfortunately, the results just really didn't do anyone any favors, and it all sort of played out like a time-worn sitcom. – at the Shubert Theatre, Chicago

Sidebar:  I've mentioned before that I think Neil Simon's more dramatic works play better in the 21st century than his comedies, especially his early ones. Case in point: a few years back I went to a community theatre production of The Odd Couple. It was competently directed and had two good actors as its Oscar and Felix. And I didn't laugh once. Not once. And though the audience laughed more than I did, it wasn't the laugh fest I remembered from the touring production at the Blackstone in the late 60s or even the female version of 1984. You see, time had marched on since The Odd Couple first appeared, and the plot and characters now seemed, well, too 60s macho, a bit misogynistic, laden with stereotypical ideas of masculinity, and just not that funny anymore. But many comedies from the 60s and 70s, unless they're period pieces to begin with, don't play, or read, well today. I mean, who does Mary, Mary, a 1572-performance smash hit from 1961, today? Feel free to disagree with me.    

ONE MAN, TWO GUVNORS – The Music Box, New York

August, 2012. I'm not sure when Bob and I laughed so hard in the theatre. This hysterical romp is the funniest play since Noises Off graced the 1983 Broadway stage. I can't even begin to describe the plot, but basically it has our hero working for two employers, and he wants to keep them each from knowing he works for the other. Got that? Don't worry. It all made sense somehow. Richard Bean's script, based on Carlo Goldoni's 1746 commedia dell'arte The Servant of Two Masters, kept the laughs coming virtually non-stop, and kudos must go to everyone on the production team, headed by director Nicholas Hytner. In a cast of true zanies, Tom Edden as a geriatric, bumbling waiter nearly stole the show, but it was Tony-winning star James Corden who was so deliciously funny, irreverent, and lovable, that you knew you were in the presence of a comic master. Impeccable comic timing takes discipline and a fearlessness and Corden displayed both. Simply wonderful. We were weak from laughter when we left the theatre. We saw a Saturday matinee. I can't even begin to imagine how Corden and crew managed another performance that day. – at The Music Box, New York

GOOD PEOPLE – Friedman Theatre, New York

April, 2011. David Lindsay-Abaire, who wrote the exquisite Rabbit Hole, returned to the Friedman with Good People, a simply terrific slice-of-life play that was both hysterically funny and dramatically intense. At its most basic, it asks the question if anyone can truly leave their roots behind, even when they have physically left them behind, but it's much more than just that. There's no great plot twists and turns, but for character studies, it's a winner. The cast, including Becky Ann Baker, Patrick Carroll, Tate Donovan, future Hamilton Tony winner Renée Elise Goldsberry, and Estelle Parsons, was absolutely first-rate with nary a weak performance in sight, with a superb lead turn by Frances McDormand, in a performance that would net her a Tony in a couple of months. Directed with a keen eye for Lindsay-Abaire's rhythms by Daniel Sullivan, one of the stars of the show was the delicious scenic design by the invaluable John Lee Beatty. Eye-poppingly gorgeous! Intelligent, thoughtful theatre. And for the record, not that it especially matters, but Tate Donovan, looking kind of daddy-scruffy with a beard, was quite hot on the Friedman stage. – at the Samuel J. Friedman Theatre, New York

THE TALE OF THE ALLERGIST'S WIFE – Barrymore Theatre, New York

Valerie Harper replaced Linda Lavin and headed up the tour. Could not find snap with Lavin headlining.

April, 2001. Who would have thought that Charles Busch, the author of such wonderfully warped gems like Vampire Lesbians of Sodom, Psycho Beach Party, and Die! Mommy! Die!, could so completely switch gears and write a traditional, laugh-laden comedy that was slick, professional, and totally forgettable. This isn't a negative, necessarily. It's just that I couldn't tell you the plot an hour after the final curtain if my life depended upon it. Taking place on the Upper West Side, Linda Lavin played a successful doctor's wife, who's having a mid-life crises, exacerbated by the sudden and mysterious reappearance of a former BFF, with a nagging mother thrown in. Complications ensued, but, never fear, it all resolved itself rather tidily by the end of the second act. Linda Lavin, Tony Roberts, and Michele Lee as the wife, doctor, and BFF respectively, were all hugely enjoyable pros, each showing off impressive comic chops, with Lee adding a touch of sexy, cougar glamour. Shirl Bernheim's nagging mother was caustic and fun, and Anil Kumar did a nice job with the smallish role of the doorman. This was not great theatre, but it was a great way to spend a Saturday evening with terrific actors and a lot of laughs. – at the Barrymore Theatre, New York

THE 39 STEPS – Criterion Theatre, London

January, 2008. This was all the rage in London, won the Best New Comedy Olivier (London's equivalent of the Tony) and would go on to run nine years in the West End. A 2008 Broadway run ran close to 800 performances and racked up two design Tony Awards. Between you, me, and the lightpost, I'm not sure why. This 4-hand parody on Hitchcock's film seemed to delight the Criterion audience.  To its credit, it was done at a furious pace, which made for a brisk evening. Greatly appreciated. I think Colleen liked it; Bob and I were pretty bored. Perhaps not knowing the film this is parodying had something to do with our reaction. – at the Criterion Theatre, London

Crossing the Pond for three plays from Chicago's TimeLine Theatre.

BAKERSFIELD MIST – Stage 773, Chicago

August, 2016. Second preview. Often funny and often thoughtful, this Chicago premiere was given TimeLine Theatre's usual detailed and top-of-the-line treatment. Even at around 90 intermissionless minutes, the script could use a judicious trim of 5-10 minutes. At times it gets a bit bogged down both in plot and its unceasing attempt to be at all times clever and/or meaningful. The plot thrust of the possibility that a painting purchased at a thrift store could be an undiscovered Jackson Pollack, and the subsequent arrival of an art connoisseur who will determine whether the painting is a forgery or a genuine Pollack, is based on a true story, and, in  playwright Stephen Sachs' hands, often hugely entertaining. Janet Ulrich Brooks, as Maude, the painting's owner, gives her customary excellent performance, but her natural classiness works a bit against her. Her character could use a bit more earthiness. At 92, Mike Nussbaum is a marvel in a sly, subtle performance. Kudos to scenic designer Jeffrey D. Kmiec and properties designer Mary O'Dowd for their evocative set of a less-than-deluxe trailer. The practically full house was attentive and enthusiastic. Not perfect, but we enjoyed it. - at Stage 773, Chicago

IN THE NEXT ROOM OR THE VIBRATOR PLAY– Stage 773, Chicago

November, 2017. The star of TimeLine's production of Sarah Ruhl's In the Next Room, or the Vibrator Play were the absolutely sensational costumes by Alison Siple. No less sensational were the superb set and lights by Sarah JHP Watkins and Brandon Wardell, respectively. Less successful was the play itself in which playwright Ruhl couldn't decide what she wanted the play to be. Is it a comedy? Is it a satire? Is it a drama? Very funny in parts, sometimes bordering on farce, but then abruptly switching gears to be sort of serious and then very serious, I found myself getting seriously bored by the middle of the second act, even began looking up at the lights, never a good sign. The acting was, for the most part, fine, but the direction was plodding and one-note and pretty much muted the performances. The play was long to begin with; the pacing made it longer. Not one of TimeLine's better productions. - at Stage 773, Chicago

BOY – TimeLine Theatre, Chicago

January, 2018. Preview. TimeLine Theatre's production of Anna Ziegler' s Boy is thought-provoking and well-worth seeing. But, this 90-minute intermissionless play about gender identity suffered from a case of trying to do too much in too short a period of time, which meant we heard about a lot of things rather than seeing them. The real-life case which is the basis for the play was an unhappy affair, filled with sexual and emotional abuse; this is the happy talk version with everything rather neatly wrapping up at the end. Don't get me wrong; I enjoyed it, but I wasn't invested in it. In its off-Broadway world premiere in 2016, Bobby Steggert, an actor of incredible versatility, played Adam. Here Theo Germaine played the role and did a nice job with it, but, like the play itself, the performance seemed a little too neat, not truthfully messy enough. Overall, performances were solid, if one-noteish, and will likely get better as time progresses. At this point, the top performance is Stef Tovar's father, which had a range of emotion and depth missing in the other performances. Personal caveat...I'm getting weary of alley staging, but that's just me. And, Wardrobe, please ensure costumes are properly pressed. I really, truly wanted to love it, but, while I admired the production, I didn't especially like it. Still and all, bravo to TimeLine for producing this flawed, but important, play. - at TimeLine Theatre, Chicago

And that wraps up another post. Until later….

© 2018 Jeffrey Geddes

ALPHABET SOUP: EPISODE 15. "W"

ALPHABET SOUP
EPISODE 15 (15):

TODAY'S LETTER:

"W"

A musical where pies are a plot point. Dueling cosmetic queens. A child of Hollywood in a frank, hysterical discussion about life, love, mental illness, and addiction. A beautiful and stunning play about a horse named Joey. Joseph Fields, Jerome Chodorov, Betty Comden, Adolph Green, and Leonard Bernstein's 1953 Tony-winning homage to mid-30s New York City. Last, but certainly not least, an audience with Kate the Great. And they all begin with the letter "W."

Grab a cuppa. Let's begin.

WAITRESS – Brooks Atkinson Theatre, New York

Even the show curtain was pie-inspired. The smell of baking pies infused the theatre, and pie was on sale at the concessions stands. The folks in front of us, when asked, said the pie was decent, but not spectacular, especially for the price.

October, 2017. I'll be honest. "Waitress" never especially appealed to me. I'd never seen the film the musical is based on, I wasn't familiar with composer Sara Bareilles, the Tony Awards selection didn't send me, and the brief Telecharge summary of the story didn't make me want to run off and buy tickets. But, Playbill Club had a great offer PLUS the show plays Sunday evenings, so we took the plunge. And we were pleasantly surprised. No, it's not a great show. Diction was sometimes iffy, the band was frequently over-amplified, the ensemble was often intrusive, the frequent 'celestial choir' vocal arrangements were annoying, and Ms. Bareilles' eleven o' clock number for her leading lady, the quite wonderful Betsy Wolfe, played out more like a ten-fifteen number. But the slender story was warm, often very funny, and, well, who doesn't like a happy, though improbably contrived, ending? The best thing about "Waitress" was its uniformly excellent cast. In addition to Betsy Wolfe, big kudos to Maia Nkenge Wilson and Caitlin Houlahan as her sassy co-workers, Drew Gehling as the hot adulterous doctor, Will Swenson as the hot abusive husband, Eric Anderson as an unbelievably easy boss, Christopher Fitzgerald as Ogie, who was probably the most endearing character in the show, and a true theatre icon, John Cullum, as Joe, who effortlessly demonstrated why he's been a star for nearly six decades. This is a "B" show, top to bottom. Everything is skillfully put together, but nothing is exceptional. But, it's an entertaining "B" show, and, in the end, one could do a lot worse. - at the Brooks Atkinson Theatre, New York

WAR PAINT – Goodman Theatre, Chicago

July, 2016. Second preview. At one point during "War Paint's" interminable opening number, Christine Ebersole appeared at the top of a staircase like Mame, only without the costume or material. Co-star Patti LuPone's accent was so thick and unintelligible, you almost believed she was appearing in a Forbidden Broadway parody of her sometimes questionable diction. The creative team of Grey Gardens put together this train wreck of a musical, and it was a slog. The actors, bless their Equity hearts, all tried. Lord knows Misses LuPone and Ebersole used every trick in their considerable arsenals to make the weak material work, but except for the final song in Act One and a couple of pretty ballads in Act Two there wasn't much they could do. The final, fictional, scene where the two rivals meet was excellent, and an indication of what the show could have been. A riveting duet capped that scene and the curtain should have come down then, but, no, there was a coda that just dissipated the excitement of the previous scene. This had the potential of being a tasty morsel of bitchiness, rivalry and fun, but instead it was dull, uninvolving, and a waste of its talented cast, especially the intrepid leading ladies and sinfully underused John Dossett and Douglas Sills, who played the underwritten roles of the men in the ladies' lives. Back in the day, if this show had opened as a tryout in Boston, it would have closed at the end of the run. A major disappointment. - at the Goodman Theatre, Chicago

Chicago Critics: Surprisingly the Chicago critics and bloggers gave the show relatively high marks. Show business "bible" Variety called the Goodman production a "sophisticated and rewarding new musical." I'm wondering what show we saw? It certainly wasn't the same show the Chicago press praised. (Ponder: was the show by that point as good as they indicated or were the local critics and bloggers just too enamored with Misses LuPone and Ebersole?

Cosmetic Changes?: Receiving mixed, though modestly favorable notices, Marilyn Stasio's Variety review neatly, and rather brilliantly, summed up War Paint: "War Paint is a musical about Catherine Zuber’s fabulous costumes and magnificent hats, as modeled by the great Patti LuPone as Helena Rubenstein and her Highness, Christine Ebersole as Elizabeth Arden. And if those hallowed names mean nothing to you, this is not your show." It ran for only 236 performances, a relatively short run, considering the names involved, and closed early to accommodate hip surgery for LuPone. The show's box-office peaked early, then started a decline, a decline that I'm sure was unexpected. Let's face it. LuPone and Ebersole are musical theatre royalty in their own rights. Performing together, this should have been a sold-out smash. The Nederlander Theatre is a bit out of the way on 41st Street and not in the middle of things. Could that have played a factor? Or was it the show itself?

WISHFUL DRINKING – Studio 54, New York

WISHFUL DRINKING – Studio 54, New York

January, 2010. When you're the daughter of a beloved 50s film star, Debbie Reynolds, and a popular pop singer, Eddie Fisher, and whose step-mother for a time was one of the world's most famous and glamorous actresses, Elizabeth Taylor, well, you're bound to have an interesting life. In Carrie Fisher's case, "interesting" did not even scratch the surface. Like all good storytellers, Fisher had the knack for making you feel as though you were hanging out in her living room, enjoying some wine, and just having a good old-fashioned chin-wag. She also made the carefully planned and rehearsed material seem spontaneous, off-the-cuff. Toss in a wicked and sardonic sense of humor, an appreciation of the ridiculous, and a bracing honesty about your mental illnesses and addiction to drugs, and, you, lucky audience member, had a grand old time. Of course she talked about Star Wars and Princess Leia. Of course she talked about her family, even using a helpful family tree graphic to illustrate the rather convoluted six degrees of separation in the family. Of course she peppered the evening with some show biz gossip and fun facts. But what she did best of all was just show us Carrie Fisher, highs, lows, and in-betweens. Being bi-polar, a manic-depressive, and a drug addict does not need to define who you are, no more than being an iconic film character does, or being the child of famous parents does. Spending the evening with Carrie Fisher was inspiring, uplifting, and just damn funny. A tremendous talent gone far too soon. – at Studio 54, New York

Like Daughter, Like Mother or Vice Versa: Carrie Fisher wasn't the only one in the family who was a terrific storyteller, as Bob and I found out when we saw mom Debbie Reynolds in concert a few years after seeing Carrie's show. Reynolds was around 80 at the time and her dancing and singing days were, for the most part, behind her, but she could still tell a story, and, boy, did she ever! She did the figurative letting-her-hair-down, got the claws out and let it rip. Surprisingly gentle about Elizabeth Taylor, apparently they had made-up or something, she reserved her sharpest barbs for her ex-husbands, especially Eddie Fisher. According to Reynolds, Fisher was far from gifted in a certain area, a tasty tidbit that the largely elderly female audience ate up like candy. Who knew our Tammy had such a blue streak?

WAR HORSE – Cadillac Palace, Chicago

December, 2012. I've wanted to see this ever since Bob, Colleen and I went on a tour of the National Theatre complex in London and saw the cast of the National's production of "War Horse" warm up on the stage of the Olivier Theatre. Based on an acclaimed English children's novel (I had no idea until I did some "review" research upon its Chicago opening), this truly remarkable production touched me on many levels. At its most basic, it's a story about a boy and his horse. But though the story may be basic, its thrust is not. Yes, at its core, War Horse tells the story of Albert, a Devon farm boy, and Joey, his beloved horse. But there's much, much more. It's also the story of growing up, the horrors of war, the treasures of friendship, and these stories were told within the framework of a visually sumptuous production that was lit within an inch of its life to magnificent effect. I didn't expect to be so moved by this story, but curmudgeonly me actually got all misty-eyed at the show's conclusion when Albert and Joey reunited and returned safely home. Sentimental? Yes. Heartfelt? Most definitely. Deliberately tugging at the heartstrings? Absolutely. Effective? You bet. Beautifully performed by a cast of first-rate actors, singers, and at times, musicians, the 2.5 hours flew by. Kudos to the wonderful folks who brought the animals to vivid life and gave them all such distinct personalities. Some things that truly are worth mentioning: the rapport between Albert and Joey that made you truly believe how much this boy loved his horse; when Joey nuzzled his horse partner Topthorn in affection and concern just before Topthorn's death; the vivid scenes of human and animal carnage lit in stark white light contrasted with dark shadow; the comic relief of the goose; the very disturbing image of vultures picking at a dead soldier's eyes; the terror of the tank; the joyfulness of Albert and Joey's reunion. The Palace is not an ideal venue for plays and some of the dialogue was lost, but both are minor quibbles. This show was just pretty damn terrific. Full stop. – at the Cadillac Palace Theatre, Chicago

WONDERFUL TOWN

– Al Hirschfeld Theatre, New York

 December, 2003. Joseph Fields, Jerome Chodorov, Betty Comden, Adolph Green, and Leonard Bernstein's 1953 Tony-winning homage to mid-30s New York City and I have a connection that has spanned over fifty years. (!!) Wonderful Town was the first show I was in way, waaaaay back in 1967 at Waukegan Township High School. I was sixteen and played Speedy Valenti. So I was excited to see an old friend again. 

Sixteen. Was I ever that young?

This production originated in 2000 as an Encores presentation, so retaining its Encores roots, the show at the Hirschfeld had a bit of a spare, but entirely functional look, with spot-on period costumes, and its lush, jazzy twenty-four piece orchestra on stage. The show itself, fifty years old in 2003, showed its age and creaked at times, but the quips and jokes were funny as ever, and the ageless Comden/Green/Bernstein score was bright as ever. Wonderful Town's score, though, often seems lost in the Bernstein canon, overshadowed, unfairly in my opinion, by West Side Story and On the Town. Kathleen Marshall's direction and choreography was fresh and crisp and Rob Fisher's musical direction kept the beat moving. Supporting players David Margulies, Michael McGrath, Nancy Anderson, Peter Benson, Raymond Jaramillo McLeod were all excellent. Ditto Matthew Shephard as male lead Robert Baker, filling in for absent Gregg Edelman. But Wonderful Town is really about the Sherwood sisters, Ruth and Eileen. As Eileen, Jennifer Westfeldt had a sweet cluelessness that never grated and often enchanted. Older sister Ruth was originated by the inimitable Rosalind Russell back in 1953. At the Hirschfeld, the equally inimitable Donna Murphy took the part captive, shook off the Roz shadows, and gave a performance that was pretty damn freaking awesome. Her wrestling with a sofa bed was an object lesson in comic timing and audience capturing. We loved her; she loved us; it was a love-in. Vocally, she's a far superior singer to Russell, but, like Russell, she has the wiseacre, madcap soul of a 30s comedienne. She was a marvel. So was the show. – at the Al Hirschfeld Theatre, New York

At This Performance…: Flu felled Donna Murphy during previews, cancelling several and putting the entire project at risk. During the run, she missed numerous performances, and then while on "vocal rest," with the P.R. folks advertising her final weeks, she didn't show up at all. I read somewhere that she missed over 100 performances. That's something like 13 weeks. That's a lot for a scheduled 10-month contract. Articles were written excoriating her behavior and, by association, a perceived lackadaisical worth ethic on Broadway. Murphy, perhaps wisely, never addressed the situation until a few years later when she revealed she had severely hemorrhaged a vocal cord, came back to the show too soon, eventually reinjured it again, and was in danger of completely destroying her voice. Since Wonderful Town, she's appeared in two limited-run musicals and was an ecstatically-received Dolly Levi in the Bette Midler-led Hello, Dolly!, where she filled in for Midler on Tuesday evenings and when Midler was on vacation. I feel she got a bad rap for Wonderful Town, but I also feel the situation could have been handled with more honesty and less speculation on everyone's part. Just my opinion.

– Goodman Theatre, Chicago

September, 2016. Preview performance.The star of Goodman Theatre's largely enjoyable "Wonderful Town" may well truly have been the glorious 17-piece pit orchestra under the baton of Ben Johnson. Those eighteen men and women make Leonard Bernstein's fabulous score sizzle. That Overture! Sigh! Not far behind in the kudos department were Bri Sudia as a wry Ruth, Lauren Molina as a sweet Eileen, and Karl Hamilton's somewhat thankless, but beautifully sung, Robert Baker. Not all of it worked. As mentioned in the previous entry, the show has its creaks and groans. The show curtain looked unfinished (apparently it wasn't) and was butt-ugly. The scenic design, while clever, often left far too much empty space on the Goodman stage, which gave the show a cold, unwelcoming look. Lighting was meh. While the show for the most part was competently directed by Mary Zimmerman (sorry, I just don't get why everyone faints over her), there were parts that were muddy. "Conversation Piece," which should be a comic delight, was a hot mess. It just didn't work. The secondary characters were played more like cartoons than real people. This was especially true of Jordan Brown's Wreck. Mr. Brown apparently played Spike in Goodman's Vanya, etc and it felt like he was still playing that part. His performance was so forced, it was almost painful, and, sadly, not helped by going up on lyrics and melody in a big way during his solo number. "Conga" could have used some heat. One the plus side, "One Hundred Easy Ways" gave Sudia a chance to eat up the stage and stop the show. "My Darlin' Eileen" and the entire scene before it were pure charm and great fun. I'm personally a big fan of "Swing!" and Sudia and the ensemble did it proud. Far better than "War Paint," the previous occupant, this was a tonic for these crazy times. - at the Goodman Theatre, Chicago

THE WEST SIDE WALTZ – Shubert Theatre, Chicago

May, 1982. Katharine Hepburn, aka Kate the Great, played a feisty senior who is a concert pianist. Dorothy Loudon was a prim spinster who plays the violin. There were other characters and a plot in this fairly funny and sometimes touching piece of cantankerous senior citizen drivel by Ernest (On Golden Pond) Thompson, but let's be serious here. Hepburn AND Loudon? Together? Dudes! They could've read the phone book and the audience would have been deliriously happy. But, instead, they played their rather broadly-written parts in this modest and somewhat twee play with seasoned professionalism, dignity, and stopwatch-perfect comic timing, and the audience, including yours truly, was in theatre heaven. Katharine Hepburn. Dorothy Loudon. That's all anyone needs to know. – at the Shubert Theatre, Chicago

And that's it for now. Until later….

© 2018 Jeffrey Geddes