"There is life after Frank Rich," quipped playwright Herb Gardner as he received the Best Play Tony Award for his comedy I'm Not Rappaport. Rich, the powerful New York Times critic, had not favorably reviewed Gardner's whimsical play during it's initial Off-Broadway run in 1985. Despite the negative press from the often caustic Mr. Rich, the play survived on favorable word-of-mouth, moving to Broadway and an impressive run of 890 performances. Arizona Jewish Theatre Company will almost definitely not have the same problem as Gardner originally suffered: Director Bob Sorenson has created an enjoyable evening that should delight critics and audiences alike.
Playwright Gardner is working with familiar themes in this play. He is famed for his quirky characters that defy reality, fighting to find a more utopian compromise. These are used in many of his other works, notably his 1962 A Thousand Clowns. In Rappaport's idyllic-yet-dangerous environment of early-80s Central Park, he brings together two elderly men in need of friendship. Midge is a skittish superintendent avoiding the chairman of the building committee where he works, afraid of being forced to retire when his building goes co-op. Nat is a dreamer who recreates reality to fit a more socialist ideal, while his loving daughter has grown weary of running interference for his wild schemes. The two pass the time with stories that frequently consist of Nat's exaggerations, what he calls "alterations." Nat attempts to save Midge's job, and the two take on a neighborhood thug and try to save a formerly drug-addicted young woman from her pusher.
Mr. Sorenson's first important job is to find two actors who can play off each other and with whom the audience can easily connect. He has succeeded admirably by bringing together Benjamin Stewart to play the rabblerousing Nat, and the younger Ken Love to portray the hesitant Midge. Mr. Stewart offers great flourishes and engaging speeches while regaling his various audiences with his alterations. Mr. Love, an actor of great strength and stage presence, is obviously working hard to lower his natural youth and energy, and does a surprisingly good job in the process. He is still electric when onstage, even with a newspaper over his head, but he imbues Midge with an endearing vulnerability that helps in his interaction with Mr. Stewart. The two are well connected, and a joy to watch.
Mr. Sorenson's next important job is to ensure that this limited-conflict script can hold attention during it's many extended monologues and two-person dialogues. Besides allowing his talented duo to work their magic, he has also paced the show with strategic accuracy.
Mr. Sorenson's final important job is to populate the world around this aging "Odd Couple" with believable characters to stimulate the pockets of conflict. To this end, he has made some interesting and unusual choices that have worked to his advantage. The first two choices are no-brainers. Trish Kiser is perfect for the young girl avoiding her former pusher, and Janet Arnold is a can't miss as Nat's worrying daughter, Clara. Both are quietly powerful in their integral roles. The two surprises, though, are Daniel Good in his dual, non-comedic roles of Tenant's Association President Danforth and intimidating drug pusher Cowboy, and pratfall master David Chorley as local thug Gilley. Both are asked to stretch into their unusual roles, and do so exceptionally, showing dramatic abilities that broaden their offerings.
Mr. Sorenson's designers have kept pace with cast and director. Mike Brooks recreates a Central Park bridge in a space that wouldn't ordinarily accommodate it. Michael Eddy's blended lighting design works well in offering the several different times of the park. Bill Osborne's sound is occasionally abrupt, but generally appropriate. Maureen Smith has captured the early 80s fashions with enjoyable results, from Mr. Chorley's fingerless gloves to convey his juvenile delinquency, to Ms. Arnold's expensive peasant skirt. The only design element with any major problems is Michelle Cali Wright's makeup design, which did not work in aging Mr. Love. His shadows and highlights were much too sharp on opening night, demanding blending in the smaller space. Mr. Good's sculpted beard for The Cowboy was also obviously drawn on rather than grown.
While Mr. Rich may have felt Gardner's script pandered, time has shown it to be both a pleasant and insightful look at the plight of the aged. With its fill of belly laughs and moments of powerful statements, this is a well-crafted evening that offers the heart and the head equal chances to enjoy.
Production Details:
I'm Not Rappaport by Herb
Gardner
Arizona Jewish Theatre Company
The Viad Playhouse on the Park, Phoenix (For a map to this location, click here)
(602) 264-0402
December 30th, 2000 - January 14th, 2001