Canadian-born playwright Bernard Slade's racy comedy Same Time, Next Year opened in 1975, right in the midst of the sexual revolution. For that reason, the topic of an illicit affair that takes place over the course of one weekend over 25 years was perfectly in synch with the mores of its middle class audience. Now 26 years old and following the death of the sexual revolution, I was afraid that this script, which I enjoyed as a youngster, might be as dated as Simon's works from this period, especially The Last of the Red Hot Lovers. Fortunately, the script has held up quite well, possibly because of it's retrospective use of changing times from 1951 to 1975. Tempe Little Theatre's production of this work has ended with an even split, though: The audience loved it, and I did not.
Set in a seaside hotel in California's wine country, accountant George and housewife Doris share a night of passion that leads to 25 nights of passion over the course of the next 25 years. Through this, we watch the progression of times and characters. George goes from successful and conservatively uptight to an enlightened psychobabbler. Doris blossoms from a typical 50s housewife to a liberated business owner. The script has many funny lines and poignant observations that have remained fresh through the years.
Helmer Evelyn Gregor Durnil directs the show as a presentational farce rather than funny character study, choosing larger-than-life and not trusting the script. Subtlety is tossed over for slapstick, and mugging replaces meaning. She has paced the show with the speed of an auctioneer, ditching any chance for true emotional connection between her cast members. The result is a distinct lack of believability that becomes a gloss of the work, a surprising thing to be said of a script written by a regular writer for the sitcom Bewitched. Her frenetic blocking features incessant crosses that never give the lovers the chance to bond for more than brief moments in each of the six scenes. Another production problem is the interminably long scene changes, which utilize projected photos and music from each of the eras being profiled, but which began to feel like actual calendar movement rather than a highlight reel chronicle of those years. The added element of color-blind casting is one of the few impressive details creating any kind of intrigue in the production.
The actors suffer from these wrongheaded choices. Impressive comic Steve Milo is left looking like a Jersey Italian version of Jerry Lewis. It seems Mr. Milo has been blocked to pause and hold funny faces after punch lines, and his usually solid comedic timing is completely off due to the footrace pacing. His important emotional scenes, especially the fourth, are sped through like throwaways. He offers the lowest common denominator in terms of character choices, coming off as a caricature in the process. There are many moments where he seems uncomfortable playing everything over the top.
Toni Robinson fares a bit better, although there is a distinct lack of connection between her and Mr. Milo. There are very few moments of palpable attraction between the two, with any kind of spark occurring late in the second act. Ms. Robinson looks awkward playing the innocent in the first two scenes, although she settles in nicely and becomes more believable in the later scenes. Her best comes in the last two scenes, when she fills the role with self-assuredness.
In contrast, the design element is one of the most solid offered by TLT. T. John Weltzien's set is sumptuous, as he captures the Costa Mesa styling of Northern California, although there are few changes to the appointments to indicate the passage of a quarter decade. A lot of work seems to have gone into Teri Glaess' costumes, and they are generally right on target. Laura Johnson's lighting is effective, while Eric Johnson's sound design is solid.
The audience gave the opening night a standing ovation, so perhaps there is something to say of gloss. I may not enjoy it, but it seems to appeal to TLT's subscription base.
Production Details:
Same Time, Next Year by Bernard
Slade
Tempe Little Theatre
The Tempe Performing Arts Center (For a
map to location, click this
link)
(480) 350-8388
September 21st - October 7th, 2001