In the Mood by Kathleen Clark
World Premiere for Berkshire Theatre Group
By: Charles Giuliano - Aug 07, 2011
In the Mood
By Kathleen Clark
Directed by Marc Bruni
Scenic Design, Lee Savage; Costume Designer, Laurie Churba Kohn; Lighting Designer, David Lander; Resident Sound Designer/ Composer, Scott Killian; Stage Manager, Stephen Horton; Pianist, Mark Gionfriddo.
Cast: Stephen R. Buntrock (Nick Elliot), Arnie Burton (Edward Horton), Jennifer Cody (Carolyn Shore), Johanna Day (Sally Elliott), Erin Dilly (Perri Rubin), Damian Young (Derek Rubin).
On the Fitzpatrick Main Stage of Berkshire Theatre Group In the Mood, a sophisticated, urbane comedy by Kathleen Clark, is enjoying a slick and elegantly produced world premiere. It runs in Stockbridge through August 13.
With a superb set by Lee Savage, for once, it seems that Berkshire Theatre Festival has got it right. The Main Stage has an architectural and designer nightmare in two columns. Yes, of course they should be removed. But it is expensive and given the current state of the economy that renovation won’t happen any time soon.
The physical impediments of the Main Stage are a part of the equation for the merger with the Colonial Theatre in Pittsfield. It has given artistic director Kate Maguire the kind of legitimate, 800 seat, superb venue that she needs to grow the company and serve its community of artists.
Those troublesome columns often have resulted in unsatisfactory design decisions. The usual solution has been to conceal them with flats and then to create a kind of deep niche between them. This too often has resulted in obstructed view seats from the side aisles. Critics not seated in the center of the orchestra have complained vociferously about invisible actions by actors buried in the corners.
With the current set we have a simple and elegant design. The columns have been incorporated into what is the layout of an upscale, New York apartment. There are the usual five doors of farce including stairs leading to the “maid’s room” which is cleverly worked into the plot. Smack dab in the center of the set is the elevator entrance which again entails a key plot point. The sides of the set lead to a kitchen and, behind the bar, a bedroom.
Just from a visual point of view the theatre has never looked better. Add to that the tasteful lighting design by David Lander. It is nicely used to create mood swings. How we all would love to have such an apartment in Manhattan.
Even when the elevator doesn’t work.
On, of all nights, the occasion planned for months by Perri Rubin (Erin Dilly) a surprise birthday party for her husband Derek Rubin (Damian Young). An unseen character in the play is Frank, the super of the high rise complex, with whom she is often on the phone. It is a long night for Frank who is handling the guests massing in the lobby. He is instructed to keep the guests busy by giving them food when the caterers arrive. With the addition of a borrowed boom box it proves to be quite a party which we never witness.
No. We are stuck in the apartment with the anxious hostess who is frittering about as deliciously conveyed with masterful aplomb by Dilly.
We first meet her in a house coat dithering through the apartment pulling off sticky notes from furniture and items to be attended to. She conveys the energy of the prefect hostess and a kind of descendant of Madame de Pompadour preparing for a ball in celebration of Le Roi Soleil. Well, sortah.
There is the sense that she lives an elegant, privileged, upscale life bouncing from Manhattan to Palm Beach. But, it seems, he doesn’t like the sun. Or parties. Which is why this is to be a surprise. And his birthday present from her will be tickets to Nova Scotia. Huh? A dream vacation in Nova Scotia! Well, rather nice actually. We have much enjoyed it. Twice. But compared to say, Cannes? Where we have also toasted ourselves by the way. For several luxurious days actually.
Enter Nick Elliot (Stephen R. Buntrock) huffing and puffing. Climbing all those stairs. Yeah, I know. The elevator doesn’t work. She is a bit shocked to see an old beau in a tux. Seems he is a substitute for his sister Sally (Johanna Day) who was supposed to play the piano for a birthday serenade by Perri. She has been practicing. Sally, who has just dumped yet another fiancé, can’t come. Actually, she does later.
Perri exits to change for the party which is fast approaching and spinning out of control. She returns in a sleek and smashing, strapless, red satin gown. It is a nice decision by costume designer Laurie Churba Kohn. Who fumbled when dressing Carolyn Shore (Jennifer Cody).
Carolyn is the diminutive, unexplained companion of her husband who has arrived early and unexpectedly. Perri is supposed to be out of the city visiting their country home. The wife has hired an actor to portray an ersatz contractor to meet him in the lobby at precisely 7 PM. They are supposed to discuss renovations.
Perri is shocked by the early arrival of her husband huffing and puffing from all those stairs. With his out of breath little friend. You know. The contractor. At least this is what Perri assumes. Although she is surprised that the agency sent a woman to play the part.
If you think Perri is confused imagine what Carolyn thinks? With wonderful restraint she mostly gasps in hilarious silence as Perri spews out the situation. If Carolyn is not the contractor then just what is she? Here the costume design by Kohn doesn’t help. She arrives with a kind of fake fur, cheap winter jacket. This is removed to reveal a simple blouse and black skirt with spiky heels. Could she be a hooker? Surely there is a comic contrast between the quite petite Carolyn and a tall drink of corporate water in a suit and tie, Derek. He is mostly played as a jerk and stiff. We kind of wonder how much of that is acting by Young but will give him the benefit of the doubt.
Carolyn, by contrast, is a comedic ball of energy. No. She is not the contractor. Or an actor portraying a contractor. She is in fact Derek’s lover and soon to be fourth wife. Or so he tells her. To more or less openly proclaim his love Derek lifts her onto an ottoman so they can embrace, face to face. He lowers her and then absurdly lifts her up again.
The playwright leaves us to ponder that obvious mismatch, size wise, and how Carolyn, the soon to be fourth wife, a likely interval to the fifth wife, stacks up against the tall and slender Erin. Cody plays her, ahem, small role, so terrifically that it is all plausible.
Enter the real contractor Edward Horton played by the adroit Arnie Burton. It is winter, a blizzad actually, and Horton arrives with an overcoat. He takes it off to reveal The Contractor. That evokes a howl from the audience. He is tricked out with contractor gear including a tape measure. In a funny bit he starts to measure everything. But, it turns out, he is an actor. A lonely one who soon is enjoying the party, which never happens, and a few Bombay martinis. Burton is a nice touch in a comedy which by mid point is spinning as much off track as the ever more frazzled hostess.
The entrance of Sally Elliot (Johanna Day) is mostly gratuitous. The character does little or nothing for the plot. Sally might be eliminated and never missed. Perhaps Clark felt the play needed something.
Indeed it does. A lot actually if it hopes to have legs. Clark should be grateful for a fine cast and sharp directing by Marc Bruni. They did their best to patch up the thin spots in what proved to be an enjoyable but unremarkable evening of theatre.