By John Lyle Belden
“Home, I’m Darling,” by British playwright and screenwriter Laura Wade, is not often seen outside the UK, where it’s set. However, the central character is captured by the nostalgia of the 1950s as envisioned by popular American television and movies, despite her having been born in England in 1980.
Carmel Community Players presents a unique production of this Olivier Award-winning comedy at The Cat, directed by Nicole Ansler.
Judy (Lori Ann Gerdisch) and Johnny (Kevin Smith) appear to have the perfect happy marriage – if this were a black-and-white sitcom. Puttering around the kitchen in a pretty dress with pearls and a frilly apron, Judy seems happy to cook and clean at a home in which nearly all appliances and furniture date to the 1950s while Johnny, smartly dressed including a hat, goes to work as a real estate agent. The one concession to 21st century living is a laptop for ordering more vintage stuff online. She only listens to old records and watches old films on a disc player wired into a modified old telly, and has embraced the lifestyle to the extent that she rarely swears and finds herself surprised that Johnny’s boss Alex (Brynn Lee) is a woman.
Judy’s best friend Fran (Amalia Howard) is impressed at how clean the home is and notes her husband Marcus (Mike Sosnowski) wouldn’t mind her living a similar life – though she likes her job. On the other hand, Judy’s mother Sylvia (Barbara Babbitt), a diehard feminist, is quick to point out how uncomfortable she is with the whole situation.
This production includes a clever addition: To help intensify the surreal atmosphere – and give the cast more time for costume changes –there are various 50s-60s style TV commercials between scenes, presented with “Mad Men” charm by Tanya Haas and Mark Livingston, with Jason Creighton voicing the announcer. Products include yellow margarine, smooth-smoking cigarettes, and whitening toothpaste for those pesky yellow stains. Written by Amsler after receiving permission from Wade, these bits are among the highlights of the show. Haas even gets to perform an ad jingle.
This retro paradise quickly shows its flaws as money gets tight with Johnny not likely to get the promotion they were counting on. While Fran tries recipes and household hints from one of Judy’s old books, Marcus is caught in a situation that, in these days, gets more serious attention.
“Nostalgia used to be considered a mental disease” is said, and there seem to be deeper issues at play. This is especially true of Judy, whom Gerdisch plays with iron stubbornness tinged with fear. As we learn about her unusual childhood, her attachment to an idealized world becomes clear, edging on cautionary tale.
Meanwhile Johnny is finding himself disconnected from life, stuck more in an acted role than a voluntary lifestyle. Smith, who can’t help looking a bit like Don Draper, shows his manly strength in a rather un-50s manner, with a hope that he can still reach his time-warped wife.
Howard charms with her supportive personality, though that trait gets sorely tested. While others play at living in the past, Sosnowski’s character Marcus is more of a throwback. Babbitt plays Sylvia as a loving and concerned mother who could grab a sign to join a march. Lee’s Alex is our anchor to the current era – modern suit, cell phone handy – not judging while focused on practical matters.
The choice was made by Amsler, to the relief of the cast, to not attempt British accents. With numerous idioms and references to English cities, there was no attempt to adapt the script to the U.S. (this story is good for practically any English-speaking culture, and has been staged in Australia). I feel this approach works, as it makes the play more relatable, and attempting the accents (especially considering regional dialects) could end up being distracting or even come off farcical, diluting the serious subtext of this already oddball comedy. Besides, the culture Judy is emulating is mostly American anyway.
Assistant directors are Laura Gellin, who is also intimacy coordinator, and Lauren Lotzow, who is also stage manager. The all-volunteer company did an excellent job of rounding up the various era-appropriate props and set pieces (helpers include Tom Smith, Susanne Bush, Charlie Hanover, and Dave Muse). Costume design is by Judy McGroarty.
A fun show with thought-provoking dark edges, “Home, I’m Darling,” has performances 7:30 p.m. Thursday (at a discount price) and Friday, 2:30 p.m. Saturday and Sunday at The Cat, 254 Veterans Way in downtown Carmel. For tickets, see carmelplayers.org or thecat.biz.
