|
 YOU
CAN'T TAKE IT WITH YOU
by Moss Hart & George S. Kaufman
Garland Civic Theatre
REVIEWED 11/26/06 PERFORMANCE
Directed by Kyle McClaran
Scenic Design by Kimberly Corbett
Lighting Design by Michael Campbell
Costume Design by Jeulet Noyes
CAST:
Penelope Sycamore...............Susan McMath Platt
Essie Carmichael..................Renee Krapff
Rheba....................................Frances Elijah
Paul Sycamore......................Greg Pugh
Mr. DePinna..........................Joe Porter
Ed Carmichael......................Jeremy Schwab
Donald..................................Kevin Norwood
Martin Vanderhof..................Don Berger
Alice Sycamore.....................Cheryl Lowber
Mr. Henderson......................Joe Porter
Tony Kirby............................Michael DeVous
Boris Kolenkhov...................Michael Wiseman
Gay Wellington.....................Julie T. Penkava
Anthony Kirby, Sr.................Doug Fowler
Miriam Kirby/Olga Katrina..Tracy Hurd
G Men....................................Joe Porter, Greg Pugh, Brad
Stives
_____________________YOU CAN'T TAKE IT WITH
YOU_____________________
This classic by Moss Hart & George S. Kaufman made
its debut at the Booth Theater in 1936, it would go on to win the 1937
Pulitzer Prize in Drama. The Sycamore family and all their zany friends
would go on to perform 838 performances in its initial run.
There would be three more Broadway revivals (1965, 1967, and 1983). The
'83 revival starred such stars as James Coco, Colleen Dewhurst, and the
great Jason Robards as "Grandpa".
Hart and Kaufman's comedy has become a major staple in regional and
community theaters, as well at high schools all over the nation. It's a
safe choice not to offend anyone. It's wholesome, sweet, and full of
family love and values.
I'm sure in its original run such topics as sex and not paying your
taxes might be a little controversial, but time has not been kind to the
piece. It now has become lackluster, not very funny, & at times boring.
Comedies back then seem to have this common theme of long acts involving
endless pages of exposition, huge casts, and seem to have all the time
in the world to unfold its storytelling. But today the piece has become
a decaying relic from the vaults of theater history.
Garland Civic Theatre has currently remounted this drawing room comedy
of an erratic family and how they almost ruin a romance between their
daughter and the son of a rich family. The production is pleasurable,
and the talented GCT Company works overtime to entertain, but in the end
the play itself still seems tedious and wearisome.
Director Kyle McClaran does an exquisite job within his blocking and
staging. He uses every space available to him to create charming picture
windows to view through. Throughout the evening he has cast members on
steps, on levels, and all over the house set, giving the piece a warm
glow of family life. To
 dust
off the cobwebs of the play, McClaran has directed his entire company to
be individual, unique characterizations. I've seen several productions
of TCIWY in which characters run together, becoming one big bowl of
blandness. Not under McClaran's direction. It was entertaining to see a
large company separate each other with clean, concise,
characterizations.
To help McClaran's direction and vision, he has a
terrific set of designers. Kimberly Corbett's mélange of scenic elements
is a vision of beauty. She has a long staircase, a fireplace, a dining
room on a platform, a large picture window, and so on. She has every
wall covered in different patterns and wallpapers. Her fantastic scenic
design allows no problems for line of sight, and also gives McClaran so
much room to play with. Corbett's set is greatly aided with gorgeous set
dressing provided by McClaran and properties by Jean Holmes. The set is
overflowing with bric-a-brac, curios, urns, flowers, candy jars, stuffed
animals, and so on. There is also a beautiful Christmas tree as well on
the set, which was designed by Kimble J. McSweeney.
Michael Campbell's lighting design is ravishing. The colors of purple
and lush pinks spill from the outside picture window, for the firework
explosions he has reds flooding the stage, and throughout the play,
during various scenes he adds pools of light and other visuals to create
a sweet veil of warmth.
All these elements make the production look as though you were peering
into a marvelous Christmas snow globe. All that was missing was some
glitter and snow!
Kudos as well to Jeulet Noyes period costuming. The tuxes looked
elegant, and the evening gowns for the two women are tasteful in period
and design. One is a big, billowing pink gown with sprinkles of sequins;
the other is a tight, silver satin gown with diamond clips. Very Jean
Harlow.
The entire company all deliver satisfying, audience pleasing
performances, with several that deserve special mention.
Within the large cast, Michael Wiseman, Tracy Hurd, and Renee Krapff
stand out. Wiseman portrays the manic, hyper Ballet teacher Boris
Kolenkhov. A large man with brooding dark features, the actor has great
energy that sparks his characterization brightly. While the Russian
accent does disappear here and there, he nonetheless gives an eye
popping, scene stealing performance.
Tracy Hurd not only gets to wear the most lavish costumes in the show,
she has two great parts to sink her teeth into. One is the rich, stuffy,
Mrs. Kirby, encased in silver satin and dripping in diamonds, she's one
hot momma. With her snooty attitude and voice dialect, she sounds like
Mrs. Lovey Howell from GILIGAN'S ISLAND. The other role is the grand
duchess Olga Katrina. For this role, Ms. Hurd has created a fantastic
character. Deep, throaty Russian accent, grand manners (even though
she's a waitress on Times Square now), and dressed in this overflowing
cascade of furs-she commands the stage with this characterization.
Renee Krapff portrays "Essie Carmichael" with the right amount of
childlike innocence and horrible ballet dancer in training. Ms. Krapff
never once walks across the stage, she is constantly doing ballet steps
or dance sequences which result in pleasurable laughs from the audience.
She's a delight in the production.
Others in the company who deliver dandy, top notch work include: Susan
McMath Platt as "Penelope Sycamore"; Frances Elijah as "Rheba"; Don
Berger as "Grandpa"; and Doug Fowler as "Anthony Kirby Sr."
As the two lovers, Cheryl Lowber and Michael DeVous have charming
chemistry and play off each other wonderfully. You do enjoy from the
darkness of the audience, watch their relationship grow with a warm,
fuzzy feeling that cannot help but a smile on your face. You also have
to give them major kudos for having to do a dreadful dance duet in the
first act, which I am certain, is not in the original. Both dance to a
song from the animated film ANTASISIA. It comes out of nowhere, and so
out of place-you thought for a second Disney on Ice crashed onto the GCT
set. Visually it is lit wonderfully, but it really sticks out like an
eye sore.
Two other actors that deserve recognition are Joe Porter as "Mr. DePinna"
and Jeremy Schwab as "Ed Carmichael". Both talented actors create very
unique, endearing performances that beg for more stage
time. Porter's De Penna has a strange laugh that works like a glove for
his characterization. Schwab has the best facial expressions within the
company; he is constantly in character, thereby creating delightful
subtext with his face.
The production does have its share of pace problems, especially in the
first act. Several actors are zooming along at solid speed, only to have
one or two actors go way too slow, talking through molasses. Another
problem is all the irritating music that is played in the background. It
is a nuance that at times drives you crazy. There is some honest,
heartfelt acting happening on stage, only to be ruined by the background
music that blares out. The play does not need this whatsoever; it
instead cuts into the honest emotions that the company are trying to
unfold.
The best comedy and the major highlight of the evening is the parlor
game that is played between the Kirbys and the Sycamores. Here's where
everything falls into sync. The pace is going at terrific speed, the
actors within the scene bring superb comedic timing and delivery-and
they all have great facial expressions. This whole scene alone is worth
the price of a ticket. It is hilarious, fresh, and full of so much
energy.
Even with its problems, the production still glows brightly like the
Christmas lights the swirl around the tree on stage, and that bright
glow comes from this wonderful array of talented actors. They rise above
the rusty, creaky script to still give the play its oomph.
GRADE: SCRIPT: C- PRODUCTION: B-
______________________________________________________________________
Production runs through December 9th. Performances are scheduled in the
small theatre at the Granville Arts Center, 300 North Fifth Street in
downtown Garland for Nov 31, Dec 1, 2, 7, 8, and 9 at 8:00PM and Nov
19, 25, 26, Dec 3, and 9 at 2:00 PM. Tickets are available by calling
the box office at 972-205-2790. Ticket prices are $16 to $20. Discounts
are available for those over 60 and under 18. Special prices are also
available for groups of 15 or more.
John F. Garcia, Jr.
Executive Director/Producer, "THE COLUMN" Theatre Awards
Editor & Founder of THE COLUMN
Texas Regional Theater Critic for talkinbroadway.com |
