Copperstate Dinner Theatre's Footlight Frenzy at Max's
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
(out of )There are two kinds of dinner theatre. There is the stereotypical production with chincy sets, over-the-top acting, and a lame script. Then, there's the production that rises above these expectations, and makes for a solid and enjoyable evening of theatre. Recent productions by Producer/Director Peter J. Hill at Glendale's Copperstate Dinner Theatre have fallen into the latter category. Their current production of the farce Footlight Frenzy has inexplicably slipped them back toward the stereotypical.
The plot, a poor man's Noises Off, sadly without the subtlety, finds the audience eavesdropping on the on- and offstage activities of the play "Tarnished Silver", a benefit performance for the Rye School for Unusual Children, written by the flamboyant Tony Langdon. Mr. Langdon has limited resources, actors who drop out on opening night, and a text that raises campiness to an art form. What little cast remains consists of the womanizing Alex, staid principal Paul and his wife, the psychotic Laura, the wild ingenue Debbie, and wimpy stage manager/school custodian Benny, who fills in on the spot. Things come to a boil offstage, causing the play on-stage to fall apart. The expected wildness ensues.
The play is a breakneck-paced farce, with almost no room for contemplation or subtlety. Action is the word of the day, and while entertaining in many silly and inane ways, the production seems to be more about the pacing than the punch lines. Mr. Hill's direction has stressed the "Frenzy" of the title, missing chances to give the audience a necessary breather. The first real break in the action is the intermission, a tiring prospect.
Subtlety is almost nowhere to be found in the performances, either. Broadly-stroked characterizations come from Gil Berry as the frenetic Tony, Noel Irick's nutty Laura, and Chris Ericksen and Kristan Hintze as the potential love interest of Benny and Debbie. These are comic book character creations, from Ms. Irick's paranoid ticks to Mr. Berry's absurd outbursts of blind rage. Granted, they are funny in a base sense, but no new ground is tread by any of these actors. As a contrast, Roy Hunt plays his put-upon principal Paul with a little more humanity, balancing against the absurdity that runs rampant on- and offstage. The result is oddly refreshing, and helps the proceedings. Peter Hill plays the character of Alex with quiet, smarmy charm, but seems overshadowed by the others.
Mr. Hill's set, sound and lighting design are as campy as the show. The audience has the point-of-view of the actors, so that the backstage area is actually the curtain opening on the packed audience of mannequins and masks. The result is at turns silly and cheesy, though keeping with the worlds of the play. Ms. Irick's costumes work well, establishing on- and offstage personas equally well.
There will be many people who will enjoy this production. The
script may be no Neil Simon, but it definitely has its moments.
It is tiring, attempting to keep up with the zaniness, but there
are a few times that make it worthwhile. During the long run,
inevitably the show will find its pacing and perhaps even shade
the characterizations. If not, be prepared for a wild, bumpy ride
that is somewhat entertaining, even if it goes nowhere in the
process.
Production Details:
Footlight Frenzy
Max's, Glendale
252-8497
September 5th-November 15th, 1997