Being that I am a guest reviewer, I should make some remarks on why I think I can review a show. I stage manage, do tech work and have prop designed for the past five years, mainly with Nearly Naked Theatre. I have acted, am a fire and belly dancer, and I'm a movie snob. I can spot bad acting, directing and tech from a mile away. So there.

The Curious Savage, written by John Patrick, is a delightful yet moving romp through a madhouse. The story revolves around one Ethel Savage who is being committed to an insane asylum by her stepchildren for squandering their inheritance. Well, that's the real reason. They're saying it's because she's "making unsound financial decisions". Whatever. Once the staff of the hospital views her rather odd behavior she's invited to stay as a guest to keep herself safe. Mrs. Savage attempts escape through bribery, and when that doesn't work, she sets her stepchildren up for publicly embarrassing situations. Angered by this, they pressure her to reveal where the money is hidden, and when it goes missing we learn some interesting details about the staff and the guests. The end scene, written specifically for this production [Editors note: It is written in the script, but staged very differently], is especially moving.

Mark S.P. Turvin's directing in this show is first rate, as would be expected of a theatre critic. The choices made were excellent, angling the feel of the show at just the right time to get the laugh intended or to hit just the right dramatic moment. The script itself is well written, and you can tell how much the director enjoys it by the fun he had with it. Every moment is directed to draw you in to this world. Excellent job.

When Jacqueline Gaston enters as Ethel Savage-wow! That woman never ceases to amaze me. She switches between sane and insane with ease, always conveying her actions with an extreme sense of style, class and dignity. Her comedic and dramatic timing is dead on. She is a perfect example of why I'm such a snob at most movies-she's amazing! Alaina Beauloye as Lilly Belle, Ethel's stepdaughter, was enjoyable to watch. She stalked the stage and the other actors as if she was born to do so. Rick Shipman as Titus and Michael Hummel as Samuel as Ethel's stepsons range from adequate to being right on target. All three do well at being spoiled, petulant, overgrown little kid.

Serving on staff at the Cloisters are Charles Sohn as Dr. Emmett and Christina Rae Stewart as Miss Wilhelmina. Both convey a sense of care and affection for all the guests well enough. Sohn plays yet another shrink (last time I saw him was in Equus) and perfectly hits the mark as an intelligent doctor with a pleasing demeanor. Stewart, on the other hand, seems to be unsure of herself in the role of the nurse and brings down the level of energy with some of the more fun scenes involving the guests.

The guests are fun and engaging, and I find myself wishing I could see more of their lives as they are lived when nothing exciting is going on. As the show starts, we are introduced to the "Guests" at The Cloisters. Tamra Mathias as Fairy Mae-in a good way immediately overwhelmed me! It took me a while to catch on that we were in a loony bin-I thought she was just fun. She has just the right energy and flair for the dramatics to convey the skewed view of her character. Jere Van Patten does a great job of playing the ex-statistician Hannibal. His character is fun and loony, and he plays it up for all the right laughs. Toby Ambrose as Jeffrey, the ex-pilot suffering from Survivor's guilt, is perfectly rigid. Barbara Wood as Mrs. Paddy is dead on as the crazy old lady, shuffling about and muttering about the things she hates. The only real weak link amongst the guests is Marilyn Gibson as Florence. She has the physicality of the role down, seems to take the idea of her being a rigid, stern, motherly type to far and is stiff and unable to reach some of the finer nuances of her role. Which is difficult-her reason for being in the Cloisters is the most disturbing of all, and as a woman, I probably wouldn't want to explore the depths of that character either.

The set design by John Autore is functional and enjoyable, and just right for a production in the round. As a stage manager, I was appalled to see the audience walk right through the set, but I suppose that comes with the territory at this theatre-my sympathies go out to Jorge Delgadillo. As a fellow prop designer, I applaud Corrin Dietlein and Nancy Ware for finding those lovely vintage Life magazines. The music invokes a feeling of times past, when things were more simple-which is a nice contrast to this show, where nothing is simple. There is good use of lighting by David Dietlein, John Favreau and Josh Fowke and some fun scenes in full dark that are key to the show's core action. Sandy Dietlein, Sandy Bishop and Candace Hughes's costumes are dapper and elegant for most of the cast, and Fairy Mae's ensembles are as fun and crazy as she is. If there was one technical aspect that truly defines the show, I would have to say it's the wigs ˆFairy Mae's constant wig changes and Ethel's blue wig truly help to flesh out their characters. Ethel's wig calls to mind Mrs. Slocumbe of Are You Being Served? one of my favorite British sitcoms.