Theater Review by Gail M. Burns and Larry Murray
Larry Murray: Set in 1950’s America with nonstop laughs that barely gave its opening night audience at the Theater Barn in New Lebanon a chance to catch its collective breath, Ken Ludwig’s Moon Over Buffalo, which was written in 1995, proves that its timeless combination of satire, slapstick and sight gags still make for an immense crowd-pleaser. His earlier turns at farce – Lend Me a Tenor and Fox on the Fairway – have established him one of the most popular purveyors of light comedy to summer and community theater. Moon Over Buffalo spoofs the theater, television and film, as well as families, sweethearts, egos and even your local weathermen. Nobody escapes his gaze unscathed.
Gail M. Burns: I love how Ludwig’s humor is simultaneously low-brow and literate, and the cast here does a great job of being broadly physical as well as bringing home the speeches from Shakespeare, Rostrand and Coward. George (Phil Rice) and Charlotte Hay (Mary Nichols) are a married couple of B-grade actors. We meet them in Buffalo, NY, touring Noel Coward’s Private Lives and Edmund Rostrand’s Cyrano de Bergerac in rep. Her stone-deaf mother, Ethel (Joan Coombs) is their costume mistress and a bit player, and Paul (Noah Mefford), the man they thought would be their son-in-law, is also an actor/administrator with the company. Their daughter Rosalind (Alyssa H. Chase) has recently left Paul, and the theater, in search of a “normal life” and arrives with a new fiancé, a local TV weatherman named Howard (Caleb John Cushing), in tow. Another interloper amidst the mayhem is Richard (Sky Vogel), a wealthy and successful “lawyer to the stars,” who has come to woo Charlotte away to that fabled land of normalcy. On the day that famed film director Frank Capra is coming to see the matinee to consider George and Charlotte for leads in his new Scarlet Pimpernel movie, George learns he has knocked up the ingénue Eileen (Clara Childress) and goes on a bender. Chaos ensues.
Larry: I don’t know who deserves the lion’s share of the credit for this superb production, the director or the actors, but the entire creative team went the extra mile to make this fast-paced story go by in a flash. It proves that Theater Barn has retro screwball comedy chops. There are no small roles in this play, making casting the key to a good production, which is why Joan Coombs was a real standout for me. She plays the mother-in-law who is deaf as a post, thereby setting up many of the play’s awkward situations as she putters about as wardrobe mistress and bit player. Coombs plays her with steadfast determination and total obliviousness as she picks up the pieces the others leave behind, including Cyrano’s floral trousers which always seemed to end up in two pieces.
But the real trouper in all this is Phil Rice, the show’s director who, due to the illness of the original actor, ended up playing the central role of George as well. And it’s a juicy role, too, the star turn. I had some rare-for-a-critic full belly laughs during his second-act drunk scene in which he gets to drop his drawers, recite Shakespeare and, literally, come out of the closet. The only straight man in the show is the lawyer, Richard (ably and subtly played by Vogel), who tries to woo away Charlotte.