Arizon Theatre Company's The First Hundred Years at The Herberger Theatre
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 5/6/00
(out of )Geoff Hoyle is a master performer. With his extensive comedic and clowning background, he has managed to bring himself to Buster Keaton-levels in performance. His face and body are malleable to the point of rubber, and his mind, along with Tony Taccone, is filled with wonderful burlesque and silent film bits that are guaranteed to delight. He gets ample chance to showcase his limitless performing talents in Arizona Theatre Company's final production of the season, The First Hundred Years, which he and Mr. Taccone have co-created. Unfortunately, balancing his ample talents as a performer and creator of slapstick is the unavoidable fact that he is not a master storyteller. What he and Director Taccone offer has potential. Ultimately, it is not what it could be, a fascinating look at the origins and stages of twentieth century comedy, but is instead the result of a mind intimately interested, and perhaps even obsessed with it.
Mr. Hoyle's creation and alter-ego, Jack Proust, is a representative of every comedic movement from Vaudeville to black and white television, without ever being much of a human. Fascinating and ingenious does not automatically translate to sympathetic or empathetic. Mr. Proust resides in the abandoned theatre of his greatest triumph, somehow remaining ageless, despite his century of existence. Into this museum of comedy enters The Kid, a young girl whom he begins to teach his vast experience. Throughout, occasional loud boomings warn of the encroachment of the millennium, leaving him limited time to hand his knowledge of twentieth century comedy to this representative of the twenty first century.
It cannot be said enough: Mr. Hoyle IS twentieth century comedy personified. He brings freshness to bits our ancestors groaned over. He is sprightly, limber, precise, and has comic timing to which you can set an atomic clock. An hour-and-a-half of this, though, without intermission, emotional involvement, or a clear purpose other than education, can wear on an audience. Ten people in my general vicinity left an hour into the show's opening night. Despite the fact that the first twenty minutes or so exist only to offer well done sight gags and other bits of comedy, ironically, it's also painfully obvious moments into the show where this piece is going, which isn't very far, and it takes its sweet time getting there.
As The Kid, a thankless role in what is ostensibly a one-person show, Rosalie Ward does what she can, though the material fights her every bit of the way. Despite echoes of Chaplin, this is a modern kid that is as believable as a squirting flower. She does have her moment near the end, in a bit straight from The Lucy Show, but by this point, we care about her as little as we care about Proust.
On a par with Mr. Hoyle's clowning are the designer's offerings. Several of Mr. Hoyle's sight gags are courtesy of Scenic Designer Christopher Barreca, who has created an amazingly interactive set. Peter Maradudin's lighting is wonderful, as is Matthew Spiro's Sound Design. Equally impressive are Peggy Snider's costume, mask, and puppet designs.
Ironically, despite the defection of several disgruntled audience members, the evening received a standing ovation. It seems the remaining audience wanted to acknowledge Mr. Hoyle's amazing slapstick abilities, able to forgive the sins of the script. If you go, be ready to be amazed and lectured, if not exactly dramatically engaged.
Production Details:
The First Hundred Years by Geoff
Hoyle
Arizona Theatre Company
The Herberger Theatre, Phoenix
(602) 256-6995
May 6th - May 21st, 2000