 |
| Heidi Rider and Nathan Rice |
I was told by someone whose
opinions about theater I respect that Laughter on the 23rd Floor is Neil Simon’s funniest
play. I don’t know if I would go that far, but I will say it accurately
captures the Rat Pack-style sophistication and the snappy, Borscht Belt
one-liners of the ’50s in-crowd. Plus it exposes the corporatization of popular
media with its resultant dumbing down of content and the “red-scare” milieu of
the times.
Laughter
on the 23rd Floor is Simon’s most autobiographical play. It is
based on his experience as a comedy writer for Sid Caesar’s Your Show of Shows. The play is set in
the writer’s room for Max Prince’s variety show, with Prince (Jason Haws) based
on Caesar. The writers are Brian (Jimmy Blackmon); Val (Christian Doyle), an
immigrant from Russia; Ira (Xander Layden), possibly the most severe
hypochondriac ever but also one of the best writers in the room; Carol (Maggie
Ferguson-Wagstaffe), the only female writer on staff; Kenny (Gabriel McClelland);
Milt (Nathan Rice); and Lucas (Mark Alford), a thinly disguised Neil Simon avatar
who periodically addresses the audience as a narrator. And there’s a seemingly
ditzy but actually smart secretary named Helen (Heidi Rider).
 |
Jason
Haws. In background from left: Christin Doyle. Gabriel McClelland, Maggie
Ferguson-Wagstaffe, Mark Alford
|
Lucas is a
new intern who hopes to be accepted by Max and hired as a staff writer. Wise-cracking
Milt is always “on”—relying on attention-getting hats and suits and snappy
one-liners to win favor with Max and his fellow writers (for all the writers
it’s always about pleasing Max). Brian is convinced Hollywood is going to buy
his script or some TV mogul is going to give him his own show. Kenny is a cynic
and the only one in the room who can stand up to Max.
 |
In
front: Xander Layden; around table: Christin Doyle. Gabriel McClelland, Jimmy
Blackmon and Mark Alford; standing: Maggie Ferguson-Wagstaffe
|
The network
thinks the show is too intellectual for the broad audience they want to
attract, and the writers have heard rumors that one or more of them is going to
be fired—possibly even the whole team. While they all obsess with keeping their
jobs, Carol is upset about Joseph McCarthy’s red baiting.
The ensemble
cast does a good job. I was particularly impressed with McClelland for his
measured approach combining common sense and humor, and with Layden, who is
emerging as a first rate comic actor (witness his recent outstanding acting in
TAO’s The Head That Wouldn’t Die).
Rider was stylish and funny as the secretary. Doyle does a standup job in his
portrayal of Val, but understanding his Russian accent was not easy.
Once again
Jason Haws owns the stage. There’s little I can say about his acting without
gushing like a fan after a Frank Sinatra concert in 1953. I defy you to look
away when he’s on stage.
I loved
Darren Mills’ period costumes. The hats, the suits, and Max’s garters make
these writers look like 1950s versions of today’s geeks and nerds.
Marko
Bujeaud’s video projections of city scenes outside the window lend class and
verisimilitude to the set.
I suspect
that many audience members will be so caught up in the comedy they’ll forget
they’re watching an accurate depiction of an important part of entertainment
history and of a crucial part of American politics.
WHEN:
Thursdays through Saturdays, 8p.m., Sundays 2 p.m. through Oct. 28
WHERE:
State Theater, 202 E. 4th Ave., Olympia
TICKETS:
prices vary, call for details
INFORMATION:
360-786-0151; http://www.harlequinproductions.org/
No comments:
Post a Comment