Blithe Spirit

Suffield Players
Mapleton Hall, Suffield
through May 17, 2008
May 1, 2008
By Donna Bailey-Thompson

All hail the incomparably gifted Noel Coward – dramatist, actor, writer, composer, lyricist, painter, and wit, knighted by Queen Elizabeth – whose impressive body of work lives on, including his bright comedy "Blithe Spirit," the latest star in the Suffield Players’ crown.

Charles (Christopher Berrien, so suave, whose glides and dips are reminiscent of Jackie Gleason), a novelist, is married to Ruth (Becky Schoenfeld, rather uptight), his second wife, while above the mantle hangs a picture of his first wife, Elvira (Rayah Martin, once a vamp, always a vamp) who has been dead and gone for seven years but not forgotten. Because Charles’ new novel’s plot will include the occult, he invites the eccentric Madame Arcati (Kelly Seip, delightfully dotty) to conduct a seance. Other guests are Dr. and Mrs. Bradman (Bruce Showalter and Cynthia Lee Andersen, whose marriage must be a perfunctory bore). Forever one misstep away from a pratfall is the always-in-a-hurry maid, Edith (Brianna Stronk).

Throughout this three-act sophisticated romp, Coward’s impeccable dialogue entertains. Simple laugh lines include such non-sitcom words as didactic, puerile, obtuse, umbrage, and phrases such as "threw in the sponge and not the gauntlet" and "Concentrate! Think of nothing!" The cast spits out bantering at a steady clip and has a jolly good time doing so. Oh yes, they’re frightfully British, swig many martinis, and the real world is turned on its ear by the spirit world.

Veteran Seip squeezes every possible laugh out of the flighty Madame Arcati. Equally adept at comedic timing is Stronk whose previous roles include strong dramatic performances as Laura (The Glass Menagerie) and Catherine (The Heiress).

Director Robert Lunde works the Suffield Players magic on their latest arresting set -- the livingroom in a English country cottage designed by him and Konrad Rogowski

The history of "Blithe Spirit" invites name-dropping. At its 1941debut in England, the great Margaret Rutherford was Madame Arcati; on Broadway that same year, Mildred Natwick did the honors. Both actresses reprised their roles in the British and American film versions; and Natwick also in the 1956 U.S. television version. Although born 67 years ago, the play is ageless.

Don't Dress For Dinner

Suffield Players, Suffield
Weekends through February 23, 2008
By Donna Bailey-Thompson

Deliberate, fantastic lies that if recounted during a 55-minute hour would qualify as confabulations worthy of certification are the fluffy stuff of The Suffield Players’ contribution to breaking up any mid-winter blues. "Don’t Dress For Dinner" is a delectable French farce. Thanks to Director Rayah Martin’s sense of pace and an appreciation of the ridiculous, this silly play delivers its purpose: it entertains.

Because the cast takes their characters seriously, the roles fall several giggles below (or above?) cartoon level. A preposterous plan is conjured up by an otherwise sophisticated Bernard (Robert Lunde) – to take advantage of his wife, Jacqueline’s (Gina Marie Paro) absence by inviting his mistress Suzanne (Meagan Kinney) to come spend the weekend. In the event Suzanne’s presence requires explanation, Bernard includes his best friend Robert (Christopher Berrien) as a houseguest who can pass, if needed, as Suzanne’s lover. What Bernard doesn’t know is that his wife and best friend are lovers. This recipe for failure has one more ingredient, a chef hired to come in and cook, Suzette (Amy Rucci, who cavorts with abandon).

When Jacqueline announces she’s staying home, pandemonium breaks loose. Extemporaneous lies pile up leading to improbable entanglements, sight gags and double entendres, until the identities are qualified and re-qualified so many times that no one knows who’s who or what. Eventually the multi-dimensional puzzle is figured out by Suzette’s husband, George (Edwin R. Lewis, III): that rapid fire dialog is enough to make heads spin.

Deft comedic timing is delivered by Lunde, Berrien and Rucci who feed the laugh meter with aplomb. In the brief mop-up role of George, Lewis injects gravitas into the whirling nonsense.

"Don’t Dress For Dinner" is so light – how light is it? – too light to leave a carbon footprint.

"The Real Inspector Hound"

The Suffield Players
Mapleton Hall, Suffield CT
Friday and Saturday through May 19 2007
By Donna Bailey-Thompson

Take a generic Agatha Christie-like murder mystery set in a spooky manor house staffed by strange servants and add hangers-on who seem to stem from long lines of inbreeding. Present these ingredients to playwright Tom Stoppard to stir and shake well until all brains are addled, then write and publish a script which attracts the Script Staff of The Suffield Players. Audition seasoned adult actors with an appreciation of the zany. Designate as director Konrad Rogowski who whips into shape a production that excels in timing, milking details, nutty nuances – surely you’re getting the picture?

But, ah there’s the rub. Because what you see is not necessarily what you get until the scene is repeated – well, sorta – and a character bespeaks a throw-away line, "Does this play know where it’s going?" By then, who cares? Because getting to where it’s going (if it gets there) is not half the fun, it’s all the fun.

The actors are the only ones who take themselves seriously which heightens the almost non-stop comedic moments. Especially adept is Kelly Seip as Drudge, a multi-faceted servant, who puts a feather duster through outlandish maneuvers, serves tea with the studied absence of social graciousness, and is the antithesis of a tactful retainer. Vanda Doyle, a newcomer to the Suffield Players but not to the stage, slips effortlessly into the lady of the manor (Felicity), vacillating between haughty and naughty. Indeed, all the cast become their wacky characters – Steve Wandzy, Bruce Showalter, Rob Lunde, Karen Balaska, Roger Ohs, and Dale Facey.

The Suffield Players are noted for their professionalism, a direct offshoot of their love and respect for the theater. Their success is due to the company’s spirit and attention to details. "The Real Inspector Hound" is especially indebted to the adroitness of its director, Konrad Rogowski, who taps into his accumulated lore and his appreciation of silliness extraordinaire.