Desiree Black

Solid ‘Salesman’ in Westfield

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By John Lyle Belden

Nearly everyone has heard of Arthur Miller’s “Death of a Salesman.” If for nothing more, it’s known that this Pulitzer-winning drama is regarded as one of the greatest plays in the English language, with its titular lead Willy Loman ranking with Shakespeare’s Hamlet as a role that defines a great actor. However, I confess I had not seen this play until the current production by Main Street Productions in Westfield.

Directed by Kelly Keller, this staging more than lives up to the work’s reputation. Though it takes a full three hours, its pace and substance fill every minute with meaning. To quote Miller’s script, “Attention must be paid.”

Aaron Moon plays Loman, a traveling salesman who lives in Brooklyn while working the entire New England region. More than 30 years on this circuit has affected him, yet he remains upbeat, smiling big and talking bigger as always. But now there is sadness in his eyes while he speaks triumphantly, mostly of past events – increasingly to people only he can see.

This worries his wife, Linda (Susan Hill), who is also growing frustrated with adult sons Happy (Broden Irwin), who shows no signs of settling down from his playboy lifestyle, and Biff (Connor Phelan) who, while doing all manner of jobs in several different states, has not settled into a productive career path.

The scenes blend this present and Willy’s vivid reminiscing of the past, when his sons were teens, eager to please their old man. The memories especially stick around the time that Biff played in a high school championship football game with college scouts in attendance. These moments include the boys’ schoolmate Bernard (Mike Sosnowski) and his father Charley (Jim Gryga), who remain the Lomans’ friends in the later times.

Willy also remembers his brother, Ben (Tom Smith), who “walked into the jungle, and… walked out rich.”

The cast also includes Jonathan Rogers as Stanley, the waiter at the Chop House, Erin Keller and Desiree Black as two ladies who Happy and Biff meet there, Tanner Brunson as the son of the man who first hired Willy (and is now in charge), and Kristin Hilger as “The Woman.”

This parable from the late 1940s still resonates today with our current hustle and grind culture, coupled with an uncertain job market, as well as anxieties ranging from the personal to society in general. For those who struggle, “fake it till you make it” can only go so far, especially when one can no longer tell the illusion of success from the real thing. Compounding these issues, the play also features themes of mental illness and suicide. The title is not a metaphor.

Moon delivers an award-worthy turn as Willy Loman, a mensch you feel for and fear for as we witness his frustrations, optimistic delusions, and decline. Hill is also stunning as his wife, desperate to bring some sense of stability back to a family that had always been on shifting ground. Irwin’s Happy, in living his own way, is more like his father than he thinks. Phelan is exceptional as conflicted Biff, expressing the strain between expectations that diminish him and a life of freedom that would apparently disappoint those he loves. Smith’s dignified calm speaks volumes.

Excellent set design of the Loman home is by Jay Ganz. The lighting, designed by Stephen DiCarlo and operated by Scott Hall, neatly helps emphasize shifts of time and perspective. Tanya Keller is stage manager.

Remaining performances of “Death of a Salesman” are Thursday through Sunday, Nov. 20-23, at the Basile Westfield Playhouse, 220 N. Union St. Get tickets at westfieldplayhouse.org.

CCP: On tonight’s episode of ‘I Loathe Darcy…’

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By John Lyle Belden

The Jane Austen novel “Pride and Prejudice” has become so familiar to those who have enjoyed it on page and screen that someone once inserted zombies into the story. What we’ll get here, though, is much more alive. Carmel Community Players presents a recent adaptation by Kate Hamill that plays into the expectations of our romcom and sitcom-fueled culture.

Directed by Samantha Kelly, the essence of the story, set in genteel 19th-century England, is intact: the relatively poor Bennet family worry that their four daughters will not be able to marry above their station, pinning their hopes on a few local bachelors with wealth or potential.

Let’s meet our bachelorettes: Beautiful Jane (Caitlin Karas), the eldest, would love to marry wealthy Charles Bingley (Grayson Wieneke), who is interested but reluctant to pop the question. Lizzie (Katie Endres) is smart, headstrong and declares she “shall never marry.” Quirky Mary (Elizabeth Enderle) everyone considers disturbingly homely (apparently even Death won’t touch her, only giving her gaunt features and a persistent cough). Spritely Grace (Lydia Miller), the youngest, is hyper and impulsive. Also on hand is equally destitute friend Charlotte Lucas (Desiree Black), who seems to kindly accept her role as a wallflower.

Mrs. Bennet (Amanda Falcone) is frantic, to say the least, constantly extolling the virtues of her marriageable daughters to anyone who’ll listen. Meanwhile, Mr. Bennet (Matthew Socey) just wants to be left alone to read his newspaper or otherwise let things play out as they will.

At social events we meet Mr. Bingley’s posh sister Caroline (Amalia Howard), as well as the nervous Fitzwilliam Darcy (Alec Cole), who has a legendarily awkward meet-cute with Lizzie. We also encounter George Wickham (Drake Smith), ambitious but “only a Lieutenant” in the Royal Army; rich but rather creepy cousin Mr. Collins (Grant Bowen); and the fiercely upper-class Lady Catherine de Bourgh (Elizabeth Ruddell).

In Hamill’s snappy script, what we get is a sort of cross between “Fiddler on the Roof” (sans music) and “Taming of the Shrew” as though presented by the Hallmark Channel – and it works delightfully. Farcical elements entertain: Falcone’s over-the-top performance making it understandable that neighbors start to avoid her; Bowen leering in such a way that we feel Lizzie’s dread at possibly marrying Collins; the various comical jump-scares around Mary, so much that I started to feel bad for her (or at least Enderle).

It all melds well with the romantic drama aspects, such as Lizzie’s grudgingly growing appreciation of Mr. Darcy, and Lydia discovering that to leap before one looks can bring on consequences. Endres and Cole acquit themselves well as more true-to-book versions of the characters.

Nicely paced while funny and charming, indulge in “Pride and Prejudice” Thursday through Sunday (two performances Saturday) at The Cat, 254 Veterans Way, Carmel. Get tickets at carmelplayers.org or thecat.biz.

CCP: ‘Starcatcher’ a fun origin story

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By John Lyle Belden

Once upon a time, there was a boy who never wanted to grow up, so he didn’t.

How he managed that feat is the tale of “Peter and the Starcatcher,” an all-ages story presented by Carmel Community Players. Adapted for Broadway in 2011 by Rick Elice from the book by humorist Dave Barry and Ridley Pearson, this piece of English Story Theatre now occupies the intimate space of The Cat, directed by Lori Raffel.

During the reign of Queen Victoria (God save her!), two ships depart from London for a faraway tropic kingdom. One has Lord Aster (Grant Bowen), the other has his young daughter Molly (Hannah Janowicz) under the watchful eye of Mrs. Bumbrake (Tanya Haas). Also, aboard one of these is a trunk containing a dangerously wonderful substance.

Molly is aboard the Neverland, captained by crafty crusty Bill Slank (Dan Flahive) who also keeps three captive orphans – bossy Prentiss (Olivia Carrier), hungry Ted (Quinn Yeater) and a Boy too poor for a name (Mason Yeater). Meanwhile the Wasp, under Captain Scott (Chris Vojtko), is taken over by the pirate Smee (Samantha Kelly) for their boss, the infamous Black Stache (Austin Uebelhor). The buccaneers are aware there is a priceless treasure, and that Aster holds its key.

Brian Thibodeau plays Slank’s first mate, Alf, with other characters by Adrian Blackwell, Desiree Black, and Mackey Brose.

The play’s simple staging and air of whimsy propel a wild adventure that includes storms, mermaids, restless island natives, and a large hungry crocodile. Along the way, the Boy gains a name, and a purpose. Little touches like Bumbrake’s alliterations and Stache’s anachronisms keep things interesting as we see the elements come together, laying the foundation of the familiar legend of Peter Pan.

The Yeater brothers are always a treat to see onstage. Quinn’s Ted is a likable goof, while Mason displays both comic and leading-man talent, which combined make him believable as the primary title character without having to actually fly. Janowicz nicely embodies the know-it-all teen girl who speaks Doolittle-esqe languages and works magical devices with scientific precision. Carrier carries on well as the boy who’s more bluster than bravery.

Kelly has an odd charm as almost-smart Smee, while Uebelhor is entertaining as the villain wannabe who struggles to be feared until a sudden injury clarifies his place in this legend. Additional humor is wrung from the growing relationship between Bumbrake and Alf. Blackwell is impressive as a chef-turned-cannibal.

Take some time out from being a grown-up to experience the childish charms of “Peter and the Starcatcher,” performances Thursday through Sunday, Nov. 21-24, at 254 Veterans Way in downtown Carmel (by the Arts & Design district). For info and tickets, see carmelplayers.org or thecat.biz.

Couples collide in Belfry farce

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By John Lyle Belden

Oh, the things we could get away with in the days before cell phones and social media – or at least thought we could get away with.

Belfry Theatre presents “How the Other Half Loves,” the American version of a popular British farce by Alan Ayckbourn. In this play, we are presented with two couples in decaying marriages. In fact, one of the husbands is in an affair with the other’s wife. When pressed for an alibi, the guilty individuals name a boring couple they barely know, who then get entangled in the ensuing mess.

The production is also a study in contrasts. The Fosters, Frank (Tim Long) and Fiona (Susan Hill) are wealthy, while the home of Frank’s employee Bob Phillips (Ronan Marra Sr.) and his wife Terri (Sarah Froehlke) is more modest and cluttered with items from caring for their baby Benjamin (sound effect and bundle in a “portapram”). These homes are presented simultaneously, with both sets of living room furniture present, and the walls sectioned for a lenticular effect. Kudos to director Nicole Amsler and set designer and builder Julia French for the excellent stage, with perfect spacing and visual cues to help pull off the desired effect.

Set in 1972, the story begins on a Thursday morning, after both Bob and Fiona had been out until the wee hours – with each other. To cover, Bob tells Terri he spent the night reassuring William Detweiler (Ken Kingshill) who suspects his wife is having an affair. In turn, Fiona tells Frank she was out reassuring Mary Detweiler (Lisa Warner) who suspects her husband is having an affair.

These stories are soon tested as Frank announces that William is joining Bob’s work team and that the Detweilers are coming over for dinner that night. Meanwhile, Terri arranges for a dinner with the couple on Friday (to “help” and to give the harried homebound mom more adults to talk to). Thus Ayckbourn’s script gets particularly inventive, as the two intimate dinner parties at two locations on two nights are presented simultaneously, involving a couple of rather bewildered Detweilers.

This is going to be one wild weekend.

Long gives us an interesting character in Frank, who comes off as a bit scatterbrained (almost worrisome at times) but eventually picking up on the clues – though not necessarily the right ones. Hill’s Fiona is detached and jaded, yet entertaining in her own acerbic way. Marra’s Bob is a cad – sorta likable, but still an ass – the kind of person who gets away with little, yet more than he should. It helps that Froehlke has amiable but frustrated Terri keep at least a degree of love and grace for him, even when he’s at his worst. Kingshill and Warner present an eccentric introverted couple whose relationship seems to have reddish flags of its own, but are well suited to each other.

The outfits they all wear are appropriate to the period, especially Froehlke’s, which could only be described as “groovy.” Compliments to costumer Sue Kuehnhold. Desiree Black is stage manager.

Constant comic confusion and mild slapstick generate laughs throughout, though seeing this work of a prior generation from the perspective of today’s awareness of disorders and dysfunctional relationships did temper my response. There’s even a brief bit of angry violence. This is very much an artifact of its time, the kind of wacky show you’d see after watching “Laugh-In.” Taken in that context, this time capsule works splendidly.

Performances run through Sunday, Oct. 1, at Arts for Lawrence’s Theater at the Fort, 8920 Otis Ave. For info and tickets visit thebelfrytheatre.com or artsforlawrence.org.