Theater Works' Goodbye Charlie
(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 8/21/99
(out of )If judging a show on technical considerations, direction and performances alone were possible, Theater Works has the makings of great theatre during the final offering of their Summer Stock season, Goodbye Charlie. Gregory Jaye's incredible set, which dazzlingly and delightfully recreates a late '50s Malibu beach house/bachelor pad is one of the best ever put on their stage, on a par with this past seasons Lips Together, Teeth Apart. Rebecca Avery's dead-on costumes are deliciously period, and complimentary to every performer on the stage. Michelle Gardner's sound design is beyond professional, and would impress me if it had been created by Arizona Theatre Company. James Clotfelter's lights, though containing a few blaring problems, especially in the second act, still blows away most community theatre groups offerings when things are going right.
The talented Robyn Allen takes the helm once more as Director, and gathers together a cast that is nearly perfect to a (wo)man. She weaves the show together with nary a problem, and elicits wonderful performances from her three main leads. While all of these things are going along so well, the real problem of the evening hangs over this impressive work: the script. Goodbye Charlie, written by George Axelrod in 1959, plays like one of those typically forgettable parlor comedies of the period, because it is in most every way the perfect example of those dreary comedies. Since I've never read the play, which was the basis of the 1991 Ellen Barkin vehicle, Switch, I can only assume that it has been edited a bit for length and content, since most plays of this era are three act monstrosities that would last long into the night if performed intact. Despite what I assume are Ms. Allen's valiant efforts to streamline the script, which has a rollicking first act after the initial fifteen minutes of clumsily handled exposition, it sinks into a lethargic and repetitious quagmire as the house lights fade after intermission. Unfortunately, from that point on, it becomes as predictable and sadly unfunny as most of the parlor comedies of this period. As a result, we are stuck once again with an amazing production of an undeserving script.
The titled Charlie is a playboy and womanizing hack screenwriter who has met his untimely demise at the wrong end of a jealous husband's pistol. The pitiful memorial set up for him by his best friend gives us all the information we need to know concerning what a heel this fellow was. The twist of the show is God's little trick, where he sends the womanizer back, but in a woman's body. From there, Charlie must learn the error of his ways, and repair his wanton soul. While this does make for some great sight gags and double entendres, most of which are exclusively tossed into the first act, there's the little matter of getting the plays moral across, which is left for the vastly unfunny second act. If only the author didn't feel compelled to finish what he'd started, the technical, directorial and performance efforts of this production would have rated it a must-see. Now, it's a pretty good catch-if-you-can, but don't feel compelled to stay for the second act, as there are NO surprises awaiting your diligence.
It's a shame, because there is some wonderful work going on here. Ms. Allen has extended the beginning of the play a quarter of an hour before the curtain to include some great warm-up bits by Ron Hunting, and the set, costume and sound design are worth the price of admission. Mr. Hunting is utterly believable as the grieving best friend, and while a little over-the-top in her presentation of playboy-trapped-in-the-body-of-a-playboy-bunny, Angelica Frost does many wonderful bits with what the script has given her. Nearly stealing the show is the drop-dead gorgeous Hollywood wife, Rusty Mayerling, as played by the impeccable Julie Cotton. Her easy ways and Kate Hepburn voice and cockiness are a treat to watch, even as she's forced to present a monologue in the second act that has "Point Of Play" stamped all over it. The rest of the small supporting cast, whose parts are extremely meager, run from solid to admirable.
Ms. Allen has shown her willingness to experiment, and her work here is so good, it seems a shame she didn't have better source material to showcase her emerging talents.
It's true that there's a place for non-threatening, unchallenging scripts, but there are plenty of those out there that manage to carry its saving grace of comedy through both acts. I've said it before, and I'll say it again: If you're working with mediocre material, it doesn't matter how great your cast and crew are, since the product will rarely rise above mediocrity. Despite the valiant effort from everyone involved, this bit of fluff left the Saturday night audience silent through most of the second act. Theater Works usually does some very impressive things, and even this flawed attempt is still worthy, based solely on the hard work of the company.
Production Details:
Goodbye Charlie by George
Axelrod
Theater Works, Peoria
(623) 815-7930
August 20 - September 5, 1999