Notes on the Arts by Marilyn Rowland

Notes on the Arts by Marilyn Rowland

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“Guys and Dolls” — Every Song’s A Winner

Wednesday, July 21st, 2010

Kyle Yampiro as Nathan Detroit and Miss Adelaide (Brynn Lewallen as Miss Adelaide in CLOC’s “Guys and Dolls.”

By MARILYN J. ROWLAND
Frank Loesser’s “Guys and Dolls,” currently being presented by the College Light Opera Company at Highfield Theatre in Falmouth, is one of those rare musicals in which nearly every song is a winner. It has such memorable solos and duets as “If I Were A Bell,” “I’ve Never Been in Love Before,” “Adelaide’s Lament,” and “Sue Me,” as well as show-stopping ensemble pieces: “The Oldest Established, Permanent Floating Crap Game,” “Take Back Your Mink,” “Luck Be A Lady Tonight,” and “Sit Down You’re Rockin’ the Boat.”

It tells an engaging story of gamblers, gangsters, showgirls, cops, and missionary workers in New York City during the 1930s, based on the short stories of Damon Runyon (as rewritten by Jo Swerling and Abe Burrows). The colorfully named characters (Harry the Horse, Nicely-Nicely) speak in picturesque language that combines vernacular street talk, formal speech (avoiding contractions, for instance), and unusual constructions, adding a humor of its own.

After a fine overture by the orchestra, the show opens on a busy street scene in New York, the night skyline represented by white rectangles and strings of lights. There is an entrance to the subway and a newspaper stand. The assorted population of the city saunters by: sailors, high society women, showgirls, schoolgirls, and assorted characters of the city.

Nicely-Nicely Johnson (Conner Lewis), Benny Southstreet (Gabriel Di Gennaro), and Rusty Charlie (Alexander Daly) open with “Fugue for the Tinhorns” (I Got the Horse Right Here), a creative three-part fugue on picking horses, and the cast members render it in a satisfyingly upbeat fashion, though they seem very young and innocent, not the seasoned gamblers they are portraying.

Mr. Lewis and Mr. Di Gennaro later unleash an energetic “Guys and Dolls” ( When you see a guy/reach for stars in the sky/You can bet/that he’s doin’ it for some doll.)

Members of the Save-A-Soul Mission enter, introducing Sarah Brown (Rachel Marschke) and Arvide Abernathy (Michael Puglia), who are seeking souls to save.

They are ignored by the gamblers, led by Nathan Detroit (Kyle Yampiro), who need a place for their floating crap game, safe from the prying eyes of Lt. Brannigan (Patrick J. Hagen). “The Oldest Established” was a rousing production with the men costumed in colorfully diverse suits and hats, and it ended with a dramatically held pose.

Miss Adelaide (Brynn Lewallen), Nathan’s fiancée of 14 years, arrives with an anniversary present for him, the card reading, “Sugar is sweet, and so is jelly, put this belt around your belly.” Ms. Lewallen shines in this role, giving Miss Adelaide a sweet saintliness as well as a streetwise sensibility.

Her songs, “A Bushel and a Peck” (with the Hot Box Girls gloriously feathered as chickens, at the nightclub where she performs), “Adelaide’s Lament,” “Take Back Your Mink,” “Sue Me” (with Mr. Yampiro) and “Marry the Man Today” (with Ms. Marschke) are always enjoyable and humorous.

Her  lament (“just from waiting around, for that plain little band of gold, a person can develop a cold”), sung to Nathan, is particularly endearing, and the duets are great fun.

Sky Masterson (Brad Baron) arrives on the scene, and Nathan hopes to find a bet he cannot lose, in order to win from him the $1,000 he needs to pay for the use of the Biltmore Hotel Garage for an evening of crapshooting. This leads to Sky’s involvement with Sarah Brown, and the two fall hard for each other, though, of course, problems separate them for a time.

Mr. Baron and Ms. Marschke blend harmoniously as they sing “I’ve Never Been In Love Before,” and Mr. Baron has a strong speaking and singing voice. Ms. Marschke’s speaking voice was much quieter, and it was sometimes hard to understand her, but she was exuberant in “If I Were A Bell” and her duos with Mr. Baron and Ms. Lewallen.

Mr. Puglia, as Arvide Abernathy, who has a relatively small role in this show, contributes heartfelt emotion with his expressive rendition of “More I Cannot Wish You.”

“Sit Down, You’re Rockin’ the Boat,” led by Mr. Lewis, was terrific, full of vitality, as was the closing reprise of “Guys and Dolls” by the ensemble.

Brandon Grimes is great as Big Jule, who brings his own dice to the game; he has removed the spots, but remembers where they were; and Amanda Forker plays General Matilda B. Cartwright with an appropriate mix of sternness and vulnerability to the charms of Sky.

Stage direction for the show is by Michael Canestraro, and music direction is by Elizabeth Hastings. Heidi Kloes is the choreographer. Costumes were designed by Kake Boucher, and the set design and technical direction are by Tim Boucher.

The show continues through Saturday, July 24, at 8 PM. There is also a matinee Thursday, July 22, at 2 PM. Tickets are $30 and are available by calling 508-548-0668, or by visiting the CLOC box office, 58 Highfield Drive, in Falmouth. Box office hours are Monday through Saturday from 10 AM to 12:30 PM, 2 to 5 PM, and 7 to 9 PM.

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A special 100th anniversary production of “Naughty Marietta” opens Tuesday, July 27, and runs through Saturday, July 31. There will be a special lecture by Victor Herbert scholar Alyce Mott on “Victor Herbert’s Enduring Legacy” on Saturday, July 31, at 3 PM, at Highfield Hall in Falmouth. The talk will focus on Mr. Herbert’s influence on the American operetta. The event is free and open to the public. Refreshments will be served. Call the box office to reserve a seat.

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The following day, Sunday, August 1, is the annual CLOC Orchestra Soiree Concert, which takes place at 7:30 PM at the Cape Cod Conservatory, across the parking lot from Highfield Theatre. The event is free and open to the public.

Posted in Music, musical theater, theater | No Comments »

CLOC’s ‘My Fair Lady’ We Could Have Watched All Night

Thursday, July 15th, 2010

Review by WILLIAM GRACE.  Mr. Grace is a summer resident of Bourne. He has a consulting business in educational publishing and an avid interest in musical theater.

You know the story, you know the music ,and you probably can sing many of the lyrics, yet “My Fair Lady” can still seem timeless, fresh, thrilling, and funny when brought to life by a talented theater company. The College Light Opera Company does just that this week at Highfield Theatre.

Samantha Helmstetter, as Eliza Doolittle, and Michael Puglia, as Professor Henry Higgins, generate a magnetic field that keeps the audience in the palm of their hands as they sing, dance, and fight their way through this Lerner and Loewe classic. Ms. Helmstetter’s Liza shines as a duchess even when she is described as “a squashed cabbage leaf” by Mr. Puglia’s overbearing and patronizing Higgins. They spar throughout the show with Liza enduring bullying, threats, and—worst of all—indifference, before emerging assertive and independent as a match for her tutor.

Mr. Puglia controls the stage, talking and singing the male chauvinistic fantasies of his virtues as “just an ordinary man,” and the dangers that befall when you “let a woman in your life.” He is at his best in the comic retelling of Liza’s triumphant performance at the Royal Ball where she passes as a lady of noble lineage.

Kyle Yampiro, as Colonel Pickering, is the straight man who sets up the laughs for the professor. He and Mr. Puglia and Ms. Helmstetter labor through the painful elocution lessons that lead to the joyful tango when Liza’s “Rain in Spain” finally falls on the plain in plain English. Mr. Puglia makes the logical Higgins touchingly sentimental when he sings “Accustomed to Her Face.”

Ms. Helmstetter makes Liza’s Cockney accent and dialect work beautifully in her early songs. “Wouldn’t It Be Loverly?” is accompanied by a talented quartet of Cockney lads played by Mike Dorsey, Scott Wasserman, Brandon Grimes, and Brad Baron. They harmonize nicely with Ms. Helmstetter’s rich voice. She is amusingly homicidal in delivering her own fantasy of revenge when she sings “Just you wait, ‘enry ‘iggins.” When she sings “I Could Have Danced All Night,” she is accompanied by Higgins’s servants played by Rachel Marschke, Stephanie Dietz, Brynn Lewallen, Brian Bowman, and Ethan Contreras. It is a magical moment on stage because you come to understand that Liza is experiencing the joy of achievement. The moment gets better when the servants withdraw behind the curtain, and Ms. Helmstetter stands alone in the spotlight and sings the verses again. She really has a wonderful voice and the opening night audience recognized her with applause long after she left the stage.

There are plenty of laughs in this production, most of them coming right from the book and lyrics by Alan Jay Lerner. Liza’s stilted attempts at small talk at the Ascot opening day races are still very funny. Drifting from the safe conversational waters of weather and health, Liza nearly drowns in the telling of her aunt’s death: “Them ‘as pinched it [her straw hat], done her in.”

Brian Shaw does justice to the swagger and charm of Alfred P. Doolittle and leads his buddies in rollicking renditions of “With a Little Bit of Luck,” and “Get Me to the Church on Time.” James Soller, as Liza’s would-be beau Freddy, has a fine voice for the wistful song, “On the Street Where You Live.”

Stage director Mark A. Pearson makes the Ascot races memorable with his crowd of top-hatted gentlemen and begowned ladies posing stiffly while singing about how thrilling they feel and how frantic they are. Of course, Liza’s irrepressible enthusiasm bursts this bubble of decorum when she urges her horse to “move your blooming ****.”

Choreographer Heidi Kloes puts nearly the entire ensemble on stage for high-stepping dances in the flower market scenes with Mr. Doolittle. Costume designer Kake Boucher provides elegant gowns for the ladies. Liza’s transformation from frowzy to regal is stunning. The Cockney dancers are handsome in mixed plaids.

From overture to curtain call, this performance was superb.

“My Fair Lady” continues tonight and tomorrow night at 8. Tickets are $30 and are available by calling 508-548-0668, or by visiting the CLOC box office, 58 Highfield Drive, in Falmouth. Box office hours are Monday through Saturday from 10 AM to 12:30 PM, 2 to 5 PM, and 7 to 9 PM.

“Guys and Dolls” opens Tuesday, July 20, and runs through Saturday, July 24.

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“Evita”: Intriguing, Powerful, Spare

Monday, July 12th, 2010

Review by MARILYN J. ROWLAND,  originally published in the Enterprise on Friday, July 9, 2010.

The College Light Opera Company’s “Evita” is presented in muted colors on a dimly lit, sparsely furnished stage, with archival photographs and film of Eva Duarte de Perón and Juan Perón playing silently, almost continuously in the background on two large screens on either side of the stage. It is an intriguing production, and the subdued, yet powerful, style emphasizes the emotional appeal of Eva Perón and the crucial role she came to play in Argentina.

“Evita” was originally written as a rock opera concept album in 1976, with lyrics by Tim Rice and music by Andrew Lloyd Webber. The songs, notably “Don’t Cry for Me, Argentina,” had become popular prior to the opening of the play in London in 1978 and in New York in 1978. (The movie, starring Madonna, came later, in 1996.)

Perhaps because of its musical album origins, or because it attempts to cover a lot of ground (Evita’s life, from age 15 to her death at the age of 33), the musical sometimes seems like a series of musical vignettes, rather than a cohesive, ongoing story.

The character of Che (sometimes interpreted as the revolutionary Che Guevara) helps to hold the story together with a running commentary on Evita’s life, providing continuity, and a heavy dose of criticism of Evita, countering her public image as Santa Evita, the patron saint of Argentina. Che shows us a woman who slept her way to the top of her show business career and, once First Lady of Argentina, was more intent on being dazzling than in truly solving the problems of the poor.

Also providing clues to the action is a Greek chorus, who add a dramatic touch.

Directed for CLOC by John R. Lucas, with musical direction by David Moschler, “Evita” is a fascinating look not only at Eva Perón and Argentina, but also the state of the world in the 1940s and ’50s, and the political realities of that time and our own. Unless one is intimately familiar with the life of Eva Perón, however, it does take some attentive listening to the lyrics to follow the action.

The show opens in an unusual fashion, with cast members on stage taking chairs, facing the audience, as the audience is coming in and taking their own seats. Cast members linger and talk to each other, before finding their seats, just as the audience is still conversing. On stage, the Argentine residents are watching a movie, suddenly interrupted with the shocking news that Eva Perón has entered immortality.

The scene switches to the funeral with the simple act of the cast changing the positions of their chairs, as they sing a “Requiem for Evita.” Che, played with just enough cynicism and self-righteousness by Justin John Moriz, introduces us to Eva, stunningly portrayed by Amanda Horvath, who, at 15, yearns to leave her impoverished life in the slums for Buenos Aires.

Both Mr. Moriz and Ms. Horvath have fine singing voices and are well-suited for their roles. Ms. Horvath bears a striking resemblance to Eva Perón, whose likeness is almost constantly displayed on the photo screens, and her voice was often strong and lyrical, rich with overtones. Sometimes, however, her voice was barely audible, and seemed tentative. Since she clearly has the talent for the role, this may have been due to opening night issues.

At 15, Eva convinces her lover, Magaldi, a nightclub singer (“On This Night of a Thousand Stars”) to take her to Buenos Aires, though he thinks it is a bad idea. “The likes of you will get swept up in the morning with the trash,” he sings to her. Patrick J. Hagen is an amusing Magaldi with a strong voice.

In “Buenos Aires,” the raised platform on the stage allows the dancers to add their foot stompings to the rhythms of the music, but it also makes it harder to hear Eva. The choreography is compelling, however.

In “Goodnight and Thank You,” Eva runs through a series of lovers as she rises to the top.

Another humorous and wonderfully done scene follows in “The Art of the Possible,” in which Juan Perón rises to the top of the military leadership by winning a game of musical chairs. Tall and powerful looking, with a voice to match, Brandon Grimes makes a fine Juan Perón.

Eva and Juan finally meet at a charity concert for victims of an earthquake. As another couple (Ethan Contreras and Rachel Marschke) dance the tango, Eva and Juan get to know each other, ultimately joining the tango, another very effective scene.

In “Another Suitcase, Another Hall,” Perón’s mistress (Christine Lacey) is told to leave, and she sings poignantly of the sorrows of love.
“A New Argentina” concludes the first act with a rousing expression of the people’s growing support for Perón.

Act 2 has a number of fine scenes as well, including Eva’s declaration of her “need to be dazzling. The people need it, and so do I,” in “High Flying Adored,” with Che.

“Santa Evita” features four local young people: Grace Brakeman of Woods Hole, who will enter 8th grade in the fall; Fiona Hopewell of Falmouth, who will be going into 7th grade; Pippa Ryan of Falmouth, who enters 11th grade in the fall; and Gussie Gordon of Boston, entering 6th grade. Their sweet young voices were joined by the voices of four women, then the women’s chorus, then the men, building to a powerful conclusion.

Costumes, by Kate Boucher, were well done, evoking the time period, and the social class of the characters. Set design was by Tim Boucher, and choreography was by Heidi Kloes.

“Evita” continues tonight and tomorrow night at 8 at Highfield Theatre in Falmouth. Tickets are $30 and are available by calling 508-548-0668 or by visiting the CLOC box office, 58 Highfield Drive, in Falmouth. Box office hours are Monday through Saturday from 10 AM to 12:30 PM, 2 to 5 PM, and 7 to 9 PM.

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David Kuehn and the Cotuit Center for the Arts

Sunday, May 30th, 2010

David Kuehn, the new executive director of the Cotuit Center for the Arts, has a vision for the center, one in which, “the parking lot is always full,” and there are interesting, entertaining, and educational activities going on throughout the day and evening, in all the center’s facilities: the art workshop, where classes and demonstrations are held; the gallery, with its changing exhibits, gala openings, and informal gatherings; and the theater, where you will find plays, concerts, and special events, like the July 10 Rhythm and Roots Festival.

He tells us about his plans in the video, below, and I will have more of our interview in an article in the Enterprise on Friday.

In the video, Kuehn mentions Sandwich artist Mary Moquin, whose work is on display at the center through June 27.  Her exhibit, “Remembered Encounters,” is well worth a trip to the center. Her paintings are vivid, multi-layered depictions of simple buildings on Sandy Neck, trees and forests, and some figure paintings. The colors are intense and the images powerful.

Mary Moquin in front of one of her paintings, “We Stand Together.”

And, Moquin is an artist in residence at the center for the month of May, which means she will be painting on site Monday through Friday from 10 AM to 3 PM. Visitors may drop by to watch her paint and talk about her work.

She will also be conducting workshops on materials and methods Wednesdays through June. Workshops run from 10 AM to 1 PM and are intended for intermediate to advanced painters. The fee is $50 per workshop, and reservations may be made by calling 508-428-0669.

“Bleacher Bums” is the next theatrical show at the center. It opens June 10 and runs through June 27, with shows at 8 PM on Thursday, Friday, and Saturday, and 4 PM on Sundays. Kuehn promises a very funny show about die-hard fans loyally cheering on the Chicago Cubs. There will be peanuts and popcorn and Cracker Jacks, which should appeal to both baseball and comedy lovers.

Posted in art, theater | No Comments »

Elvis Lives On

Sunday, June 21st, 2009

I was living in Memphis, Tennessee, in 1977. Elvis lived there too, but he was, by then, the fat, aging, substance-abusing Elvis, a sad caricature of his former self. I was at work when we heard the news that Elvis had died. He was only 42.

My response? I laughed. The news media seemed to be making such a big deal of Elvis’s death, though he had been a has-been,  to me, at least, for some time. I had never been a huge fan of the young Elvis either.

Gradually, though, the old, drug-impaired Elvis faded from memory, and his music lived on.  We moved to Massachusetts the following year, and returned to visit Memphis about 12 years later and toured Graceland with all the other tourists. The glitzy furnishings in the house were amusing, but the rooms filled with Elvis’s costumes and memorabilia–and rows and rows and rows and rows and rows of gold records were overwhelming. I was impressed, and over the years have come to appreciate Elvis’ music.

Jay Stewart has been impressed, perhaps obsessed, with Elvis for much longer. And he tells his story in his one-man show, “Elvis… The King and Me.”  I went to see it on Friday. In the show, Stewart sings 19 songs that Presley made famous. He is not an Elvis impersonater exactly; what he does in his show is to tell the story of a young man’s first awkward first encounters with girls, at age 13. There is an Elvis Presley song for every emotion, every dream, every proclamation of love, and every heartbreak.

Stewart does a great job on the Presley songs, but he is re-creating the 13-year-old singing the songs as Elvis, not Elvis himself. Stewart does not dress up, and his bald head remains hairless, but he very effectively conveys the way Presley’s songs influenced many of our lives and many of our love stories. And why he deserved those rows of gold records.

The show continues at the Harwich Junior Theater Friday and Saturday evenings at 8 PM on July 3, 4,10, 11, 24, 25, and August 1, 14, 15, 22, 28, 29, as well as Wednesday through Sunday, September 1 though 6.

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James Judd Puts on a Great Show

Friday, June 19th, 2009

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I smiled all evening, except when I was laughing. San Francisco comedian James Judd is in Falmouth this weekend presenting his one-man show, “7 Sins,” at the Woods Hole Community Hall (sponsored by the Woods Hole Theater Company.)

Judd kept everyone laughing uproariously throughout his 90-minute show. He is not a stand-up comic so much as a story-teller and actor, animating the true and very funny stories of his life. He is intelligent, articulate, and original, and weaves his stories together creatively, from his fifth-grade book report contest to his summer job watching and acting out soap operas for his mom, to his days as a defense attorney and a writer of self-help legal books.

Speaking directly to the audience, without a microphone, Judd seemed like an old friend, a very funny old friend, who had come to regale us with his funny stories. There are sound and lighting effects, and yards of fabric hang down to decorate the stage.

The show continues this Friday and Saturday night. It is a very amusing evening out.

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Modern Music at the Mansion

Saturday, May 23rd, 2009

My husband and I attended the final Music at the Mansion Sunday afternoon concert of the season last Sunday at Highfield Hall in Falmouth. It is an elegant and intimate concert setting, where you can enjoy the architecture, interior design, and art exhibits, as well as the music.

Cellist Ashima Scripp and pianist Eleanor Perrone played Beethoven’s Sonata in C Major, Carter Pann’s “Differences,” and Franck’s Sonata in A minor.

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It was a powerful selection of music, and Scripp and Perrone, both very accomplished musicians, played with a bold and expressive  confidence, filling the ballroom with glorious music. The three pieces were technically, musically, and physically demanding, and from distinctly different time periods. Ashima and Perrone were a fully equal  duo, not “just” a soloist and an accompanist, and the concert was an exhilarating experience for all.

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The two musicians clearly enjoyed the history and unique aspects of the pieces they were playing. They took turns introducing the music, and both did so with enthusiasm and intelligence.

Knowing that contemporary audiences sometimes spurn contemporary music, it was interesting to see what a positive response there was to American composer Carter Pann’s “Differences,” a piece written in 1998.  The five movements, in different musical styles, vary from a slow air to a bluesy melody to lively popular style music and a country dance. The audience loved this delightful piece, familiar and yet exuberantly different.

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Of course, the audience also loved the Romantic Franck sonata, composed in 1886 for violin, but frequently played on cello, and Beethoven cello sonata, his fourth, which was written in 1815.

According to Wikipedia, Beethoven’s 4th and 5th cello sonatas were known for “the complexity of their composition and their visionary character.” Critics of the time were “perplexed,” and said that the 4th and 5th sonatas “elicit the most unexpected and unusual reactions, not only by their form, but by the use of the piano as well. . . We have never been able to warm up to the two sonatas.”

In their time, the Beethoven cello sonatas were modern music, too, but audiences did finally warm to them, and we are clearly the beneficiaries of all these musical treasures. And fortunate to hear them so beautifully played.

Posted in classical music, coffeehouses, theater | No Comments »

Washington, DC

Saturday, April 25th, 2009

We didn’t really stop in Washington DC, where I went to college and lived for seven years, and where entertainment abounds: both the art-music-theater-dance sort and the political kind. Instead we visited my niece in Bethesda and an old friend in Reston, and found time to talk about the arts.

Laura, my niece, has a fellowship at the National Institutes of Health, and she was studying for medical school exams the week we came. Nevertheless, she found time to meet us at Starbucks (so ubiquitous in the Atlanta area, my daughter said, that she was excited to find a rare Dunkin’ Donuts). Laura is also a fine violinist, and we compared notes on our recent orchestra experiences.

We went out to dinner with JoAnn, whom I met on my first job, long, long ago. She is now a teacher of gifted and talented students and an enthusiastic actor in community theater. She had just finished a run of “The Full Monty,” in which she played the piano accompaniest. She loved the the role because it gave her an opportunity to be funny, which is what she enjoys most, and to sing a couple of good songs.

She said some things about the theater that I found interesting: that most actors were basically shy and theater gives them an opportunity to interact with others in a scripted way, never having to grope for words or wonder how to carry on a conversation (unless you forget your lines.) I had never thought of theater that way.

She was critical of local reviewers who, she said, spend too much space summarizing a play, rather than reviewing. I had heard this criticism of theater reviewers, and have tried to minimize such summaries myself, while still providing a sense of what the play is about. I do think that reviewers should be writing for potential audiences, not for theater people, but it can be helpful for reviewers to have their reviews reviewed by those we review.

Before leaving Washington the next day, we toured American University, where I received a BA in international relations from the School of International Service. None of that frivolous arts and music stuff for me back then.

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The School of International Service on the left, and construction underway for the new building, on the right.

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Signs of Spring

Monday, April 21st, 2008

At last, it is sunny and warm here on the Cape, but the real signs of spring are the reopening of the local clam shacks, up and down the Cape. We were in Dennis recently to learn about the Cape Playhouse summer schedule and to visit the Cape Cod Museum of Art. There were only a few people enjoying the art treasures at the museum, but it was opening day at Captain Frosty’s, and the line stretched out the door. We didn’t have much time, so opted to leave without ordering anything. As we were going, another customer in the line called out to us to stay, that we’d be missing all the fun if we left.

Fried seafood is not, of course, all the fun to be had on the Cape. Other amusements and signs of spring include an increase in art exhibits, fairs, music festivals, concerts, theater productions, and other entertaining events.

Which brings me back to the Cape Playhouse. The summer season begins in June, with “Marc Salem’s Mind Games,” from June 23 to July 5.

Marc Salem was on hand at the Playhouse to preview some of his incredible mind games: guessing the exact amount of someone’s pocket change, figuring out the first word on a random page in a book, predicting audience answers to questions, and mentally changing the time on someone’s watch. He was very, very good, completely mystifying, and funny too. He said that it wasn’t magic, just a heightened sense of reading people’s body language. He has been hired by police departments to train their personnel to tell when people are lying. His time-changing talents are hard to explain though. You can see some of his mental feats on his 60 Minutes appearance with Mike Wallace, which can be viewed on his website, marcsalem.com.

Other Cape Playhouse shows include:

July 7 to 19, “A Day in Hollywood/ A Night in the Ukraine” (musical)

July 21 to August 2, “Dirty Rotten Scoundrels” (musical)

August 4 to August 16, “Leader of the Pack” (musical)

August 18 to 30, “Born Yesterday”

September 1 to 13, The Devil’s Music: The Life and Blues of Bessie Smith (musical)

For more information on Cape Playhouse events, see the Cape Cod Center for the Arts.

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“The Oldest Profession”

Sunday, April 20th, 2008

Following is my review of “The Oldest Profession,” a dinner theater presentation of the Woods Hole Theater Company. The play will be presented this weekend, April 24-27 at the Nimrod Restaurant in Falmouth.

I welcome your thoughts about the play play or my review. Post your comments in the Comments section at the end of this review. Thanks!

‘The Oldest Profession’ Offers Laughs, Insight, Social Commentary

Posted in: Entertainment
By MARILYN J. ROWLAND
Apr 18, 2008 – 2:54:59 PM

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The cast of the Woods Hole Theater Company’s dinner theater production of “The Oldest Profession” (from left): Cathy Smith of Falmouth, Louise Patrick of Waquoit, Geralyn Peterkin of East Falmouth, Lori Spurling of East Falmouth, and Gail Almeida of Sandwich. The play will be performed next weekend, April 24 to 27, at the Nimrod Restaurant in Falmouth.

“The Oldest Profession,” a play about the joys and sorrows and life experiences of five aging prostitutes by Pulitzer Prize winning playwright Paula Vogel, is the latest dinner theater offering from the Woods Hole Theater Company. Directed by Don Dutton, it was performed last weekend at the Nimrod Restaurant, 100 Dillingham Avenue, Falmouth, accompanied by a meal including Caesar salad, Parmesan d’aubergine (eggplant), with coffee and a cake/sherbet dessert served at intermission. The food was good, and people seemed to enjoy the social setting.

Paula Vogel is known for mixing humor with controversial topics such as AIDS, homosexuality, pornography, domestic abuse, gender roles, and child sexual abuse and incest, which are the topics of “How I Learned to Drive,” the play that won her the Pulitzer in 1998. (For those who may be interested in comparing plays by Ms. Vogel, Bridgewater State College Theatre Arts Department will be presenting “How I Learned to Drive” on April 25 and 26, and on May 1, 2, 3 at 8 PM, with a 2 PM matinee performance on April 27.)

The Oldest Profession,” which was written in 1981, combines comedy with political and social commentary. It has been said that Ms. Vogel intended her play as a criticism of the Reagan Administration’s economic policies. In 2008, this is not readily apparent, though the economic issues may feel familiar. There are humorous references to Jimmy Carter and Ronald Reagan, labor and management, and risky investments, as the women grapple with the physical and financial problems of growing older.

The women have been together for 50 years; one was recruited upon graduation from eighth grade. They worked together in Storyville, the red light district of New Orleans, and moved to New York City when Storyville was no longer profitable. When the play opens, a week before the 1980 election of Mr. Reagan, they are clustered around a park bench, sharing stories about the meager profits of the day.

The set is minimal, which is to be expected, given limited space in the restaurant, but I would have liked just a little more, perhaps even a painted backdrop, especially having seen the wonderful set for the Woods Hole Theater Company’s recent production of “Same Time, Next Year,” also directed by Don Dutton, when an entire summer cottage was brought to life in the same space.

All five actresses perform their roles well. Geralyn Peterkin plays Mae, the caring and responsible madam; Cathy Smith plays Vera, the sweet one, who comforts Mae in her time of need, enjoys cuddling, and almost gets married; Gail Almeida very effectively plays Ursula, the bossy, tough and businesslike one, whose plans for financial gain don’t quite work out; Louise Patrick does a great job as the flashy and adventurous Edna, who gets fired from her job at McDonald’s for being too seductive; and Lori Spurling convincingly plays Lillian, the pretty one, the one who enjoys going to the theater, and who wanted to be an actress herself, but “Lillian was no fool; she knew there was no money in the theater.”

Discussing their meager finances, Lillian jokes that “we should be eligible for Social Security because of all our years of social service.” Many of their clientele now live at the Home for the Aged, and payment is not what it used to be. “You’ll get better tips,” says another woman, “if you avoid discussing the election, gas prices, and the economy.”

Ursula is after the others to become more businesslike in their dealings, insisting that the women work harder and more efficiently. Lillian, whose last client paid her with a pair of silk stockings, not money, brightly replies, “I can’t just hop into bed and hop out again.” She pauses, joking, “It’s the arthritis!”

“We need to get our hands on the AARP mailing list,” says Ursula.

The rapid-fire dialogue does keep the audience laughing, but it works against a perception of the women as elderly. They talk about aging; they have arthritis, their digestive systems don’t work as well as they used to, but, on the whole, the ladies seem only middle-aged, not ancient, not just in looks, but in the dynamic way they talk and move about the stage.

I did find one scene about aging particularly touching and well acted: Geralyn Peterkin as Mae begins to lose her memory. Her fears for herself and her efforts to keep the problem a secret from Ursula, who, she fears, will “pack me on the next ice floe heading south,” are moving and make one care about the plight of these women.

The arthritis and indigestion are played more for laughs, not a bad choice in a play of this nature, but it holds us at arm’s length from considering the reality of the issues.

Without giving away too much of the plot, all the women get a chance to do a little burlesque dancing. None of the women were expert dancers, but their lack of expertise was endearing and appropriate. The play ends with all the women on the stage in a fairly uncoordinated, but amusing dance routine. I think that the awkwardness was intentional; the audience enjoyed their efforts.

The play will be performed again on April 24 to 27, with dinner on Thursday through Saturday starting at 7 PM, and the play beginning at 8 PM. On Sunday, the play is performed as a matinee, with dinner at 4 and the performance at 5 PM. Tickets are $40, and reservations may be made by calling 508-540-6525.

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