”
Southern Comforts
”
is a delightful romp that tells the story of two people near end
of the rainbow of life’s journey. They find each other and fall in
love.
“Southern Comforts” is a delightful romp that tells the story of two people near end of the rainbow of life’s journey. They find each other and fall in love.
It’s pleasant and light theater played by consummate actors that keeps the audience giggling and enjoying the obvious and predictable.
Written by Kathleen Clark, who had the play produced in Florida with Dixie Carter and Hal Holbrook as the lead characters, then it had a New York run with a different cast. TheatreWorks presents “Southern Comforts” West Coast premier at the intimate Lucie Stern Theatre with Edward Sarafian and Karen Grassle (well known as Ma Ingalls on “Little house on the Prairie.”)
The story is sweet and gentle about a curmudgeon set in his ways. The northern widower, who managed to elude ladies of the church for five years, meets a very pert southern belle widow from Tennessee visiting her daughter in New Jersey. In a very short time she manages to charm him into courtship, love and marriage.
Director Joy Carlin keeps the delicate mood of the piece throughout, even when there are moments of dissent.
Karen Grassle is delightful as the genteel southern belle with a mind of her own. She plays Amanda with a velvet glove and fascinating, loveable diplomatic charm.
Edward Sarafian as Gus is believable and is sensitive in his own way in a role that could come across as trite. He puts the right touch on the character of a man that suffered through the war and an unhappy marriage and approaches with caution the idea of love at this time of his life.
Amanda’s discussion with Gus with reference to sex in their relationship is one of the most endearing scenes and hits the most depth in the play.
Interesting sets by Frank Sarmiento, pleasant, seasonal wardrobe by Cathleen Edwards and Michael Palumbo’s draw the production to a fine tuned presentation.
For a relaxed, enjoyable evening, TheatreWorks “Southern Comforts” is the ticket.
***
From the moment the curtain rises on American Musical Theatre of San Jose’s production of “Cabaret,” the momentum builds through the very long first act (90 minutes) and holds viewers’ attention. It moves like a revved up steamroller, with a breathtaking pace set by director Bill Berry. The audience doesn’t dare look away for fear they will miss something.
“Cabaret,” taken from Christopher Isherwwod’s “Berlin Stories,” tells the tale of life in excessive, oblivious Berlin (1929) at a time when the world was standing on the precipice of war.
Tari Kelly, as the brassy Sally Bowles, becomes the driven, free-spirited diva – gamin with a vengeance. Her phrasing during “Cabaret” and “Maybe This Time” is impeccable. She handles the role with just the right amount of grit and chutzpah without being annoying.
Nick Garrison, as the insidious, leering, tacky master of ceremonies of the sleazy Kit Kat Club, guides us through the plot. His creepy, amoral characterization almost becomes uncomfortable at times, until you realize he is a sign of times that are about to come to a crashing end. He does his job well and is credible.
Louis Hobson as Cliff Bradshaw, Sally’s patient boyfriend, has a velvet-like beautiful delivery.
The most special moments come from a finely seasoned Suzy Hunt (Fraulein Schneider) as the widowed landlady and a sympathetic, gentle Allen Fitzpatrick (Herr Schultz) as the Jewish fruit merchant. Their doomed, sweet love affair is tender and poignant.
The glitz and glitter of Thomas G. Marquez’s costumes are spectacular. Creative sets and lighting by Tom Sturge and great sound by Jeremy J. Lee make for a super production.
Bob Richard’s choreography is right on mark with a great energetic chorus.
The Kit Kat Club’s orchestra, under the direction of Ian Eisendrath, is a hoot and makes great sounds.
The more mature audience realizes the ramifications of the plot that most of the younger folk (30 years and younger) didn’t seem to have a clue about. It’s amazing how easily horrendous events that touched millions can be forgotten – and Elvis still lives. Perhaps it’s time to reevaluate.
This “Cabaret” is a blockbuster musical, well worth the trip over the hill. The audience left the theater softly humming “Cabaret” alongside a realization that what was about to happen would change the world forever.
