The Play's the Thing

Posted: Mon., Jun. 11, 2007, 2:56pm PT

 
(F. M. Kirby Shakespeare Theater, Madison, N.J.; 308 seats; $52 top) A Shakespeare Theater of New Jersey presentation of a play in two acts by Ferenc Molnar, adapted by P. G. Wodehouse. Directed by Joe Discher.
 
Sandor Turai - Mark Jacoby
Mansky - Colin McPhillamy
Albert Adam - Jared Zeus
Ilona Szabo - Caralyn Kozlowski
Almady - Robert Gomes
Johann Dwornitschek - John Little
Mr. Mell - Greg Jackson

By ROBERT L. DANIELS

An amusing, delicately contrived parlor comedy, Ferenc Molnar's 82-year-old fancy, "The Play's the Thing," is structured upon a once fashionable theatrical style rarely seen on today's stages. Set on the Italian Riviera in the twenties, it's the kind of drawing room romp that often catered to summer stock audiences more than a half-century ago. Offered as seasonal spring froth by the Shakespeare Theater of New Jersey , the seldom performed conceit may be a tad weightless, but as staged by Joe Discher, it is visually stunning and deliciously acted.

A worldly dramatist and his blowzy collaborator settle into a posh Riviera castle with their composer protege. They happen to overhear a romantic encounter in the adjoining suite between the composer's fiancee and a roguish actor. The playwright fashions an ardently passionate script that includes the overheard dialogue to appease the heartbroken and suicidal songwriter, consequently tricking him into thinking the couple next door were only rehearsing their roles. The setup is droll and to the point, and when the little charade is acted out, it serves for a decidedly unharnessed and broadly farcical finale.

Sandor, the vain and worldly dramatist -- a role once played by opera star Ezio Pinza in a straw-hat revival at Westport Country Playhouse -- is amusingly drawn by Mark Jacoby. As the playwright, "on the shady side of fifty," Jacoby defines the effete and plotting writer with pointed dash and Noel Coward-esque flair.

As the fickle prima donna in a lavish display of silken robes and frilly gowns, Caralyn Koslowski parades about with dizzy allure. Robert Gomes defines the role of a preening ham actor, and awfully good too is Greg Jackson as the frantic and fussy social secretary. Colin McPhillamy provides a crisp account of Sandor's exasperated colleague.

In remarkable contrast to the gruff midwestern tavern owner he portrayed for the N.J. Rep last winter in "Don't Hug Me," John Little steals every scene he appears in as an annoyingly correct Transylvanian butler. No writer has ever crafted the role of a valet as well as P. G. Wodehouse, the creator of Jeeves, who adapted the play from Hungarian scribe Molnar.

Discher's staging is remarkably tight, leaving no room for yawns. The stylish production is an eye-candy feast. The drawing room as designed by Jesse Dreikosen is a richly furnished affair with an armored knight, a bust of the Bard, lavish furnishings and a picture-postcard balcony view of a Riviera mountain lake. Brian Russman's period threads are equally elegant.
 
Set, Jesse Dreikosen; costumes, Brian Russman; lighting, Bruce C. Auerbach; sound, Discher; production stage manager, Jennifer Grutza. Opened, reviewed June 9, 2007. Runs through July 1. Running time: 2 HOURS, 20 MIN.

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It may not be Shakespeare, but 'The Play's' a real hoot

Monday, June 11, 2007

BY PETER FILICHIA

Star-Ledger Staff

NEW JERSEY STAGE

Three-tenths of a mile. That's how far from Route 124 is the Shakespeare Theatre of New Jersey in Madison .

Nevertheless, anyone driving on that road also known as Madison Avenue these next three weeks might hear the laughter coming from the playhouse that's 1,500 feet away. That's how loud the roars were over the weekend at "The Play's the Thing."

This isn't the usual fare provided at Bonnie J. Monte's theater. It's shorter. You're out after two hours and 15 minutes, including intermission.

It has a smaller cast. Only seven actors are here to romp, but romp they do, thanks to director Joe Discher's deft touch.

It's a more modern play than usual. Hungarian playwright Ferenc Molnar wrote it in 1925, and a year later, noted British humorist P.G. Wodehouse adapted it into this script.

Lord knows Monte's troupe has done plenty of comedies, from Shakespeare ("As You Like It" is a frequent visitor) to various European works ("Rhinoceros" and "The School for Scandal"). But "The Play's the Thing" is lighter in substance, with all the consistency of cappuccino foam. It's equally delicious.

Sandor, Mansky and Albert are all in an Italian castle, to work on their new operetta. Then they hear voices coming from Ilona's bedroom. Of the three, Albert is most unnerved by what he hears, for he's Ilona's fiancé -- and she is trading declarations of love with Almady, an actor.

"The walls," says Sandor, "are paper-thin." Truth to tell, so is the plot. Any theatergoer who's seen only a half-dozen plays in his life can guess what will happen.

So it had better be done stylishly, and indeed it is. Jesse Dreikosen provides the prettiest set in recent memory, the kind of room with a bust of Shakespeare on one side, a knight's armor on another, and in between, one of those long gold ropes that's used to call the butler. (When he shows up, fun is in the offing, for John Little has an amusingly officious way with a line.)

Caralyn Kozlowski, the show's only woman, gets three drop-dead dresses from clever designer Brian Russman. She succeeds as Ilona, the not-so-dumb blonde who's not-so-bright, either. What her character lacks in smarts is more than made up in vanity, and Kozlowski knows how to play a star who's ever-so-important (in her mind, anyway).

As Sandor, Mark Jacoby gets to portray the elegant playwright who can wear a lavender jacket and yellow scarf without looking ridiculous. Jacoby is, however, utterly hilarious as he constantly shows his urbanity -- the term that has been regrettably replaced by "cool." He's totally comfortable in formal wear in this formal room.

Colin McPhillamy is entertaining as Mansky, who's owlish in demeanor, with a big mustache over his stiff upper lip. As Almady, Robert Gomes has a long but always terrific scene where he must keep from getting apoplectic, and fails, to our delight. Greg Jackson is a scene-stealer as a secretary who has a penchant for show business -- or so he thinks.

Finally, Jared Zeus captures the foolish heartbreak that Albert feels when he believes he's lost The Love of His Life. He gamely says the script's most hyperbolic line: "This little comedy is worth all of Shakespeare put together." Even the staunchest Bardophiles won't mind, because they'll be having too much fun along the way.

Peter Filichia may be reached at pfilichia@starledger.com or (973) 392-5995.

06/15/07 - Posted from the Daily Record newsroom

Shakespeare Theatre unearths comic gem

BY WILLIAM WESTHOVEN

The headlines are full of show-business types who find trouble when they confuse real life with the scripts that make them stars. Why worry about consequences if you can just fix it in rewrite?

Playwright Ferenc Molnar identified this contemporary attitude in "The Play's the Thing," which opened Saturday at the Shakespeare Theatre of New Jersey in Madison , but was written in 1926. His thoughtful observations on the nature of theater are fuel for lively discussion, but mostly, Molnar's "Thing" is played for fun.

The end result is a farce that will make intellects and theater insiders snicker, while the rest of us can just laugh ourselves silly.

Molnar doesn't get a lot of face time on modern stages, but "The Play's the Thing" is just one of 18 of his plays that made it to Broadway. Fortunately, the Shakespeare Theatre's expanded 2007 season allows a few extra detours from the usual rotation of classics to explore this fertile ground.

Director Joe Discher's program notes provide some useful information: "Molnar was keenly interested in exploring the thin and often disappearing line between reality and illusion, between life and strange." So it's no surprise when three characters begin discussing alternate writings of the scene they inhabit.

Writing, rewriting and orchestrating the movements of characters comes naturally to Sandor (Mark Jacoby), a prominent playwright recently arrived as a guest to an elegant castle on the Italian Riviera. Sandor is there with his collaborator, Mansky (Colin McPhillamy), and his young composer, Albert (Jared Zeus), to sell their new operetta.

Sandor arranged for their suite (Jesse Dreikosen's set is convincingly opulent) to share doors with the lovely and talented prima donna, Ilona (Caralyn Kozlowski), also recently betrothed to Albert. Sandor hopes the close quarters will bring them all together on the operetta, but Albert is shattered when they overhear Ilona succumb to the advances of her former lover and stage mentor, Almady (Robert Gomes).

Thankfully, Molnar's clever farce treats the unfortunately aforementioned plot with the dignity it deserves -- he rewrites it, in a manner of speaking, to illustrate its absurdity and orchestrate the happy ending this sort of thing demands. Even then, "The Play's the Thing" veers from convention, telegraphing the inevitability of the happy ending, then dragging it out with some playfully sadistic comedy, humiliating the pompous actor, Almady, in a way only a playwright can.

Molnar also skewers critics with his sharp pen. When Mansky suggests adding violence to a play, Sandor says, "Critics dislike bloodshed. If there's to be any blood, they prefer to draw it themselves."

Jacoby revels in Sandor's shiny shoes, standing in for Molnar as he thinks faster than everyone else. Looking elegant in a tuxedo and a purple silk dinner jacket, he brims with confidence knowing that with strong direction, any end can be achieved.

The only thing he cannot do is remember the name of the ubiquitous butler, Dwornitscheck, who's always available because he only sleeps during the offseason. John Little is a giant in a comparatively small role, instilling this gentlemen's gentleman with dry humor and some impressively vertical posture. At the short end of the castle staff is Greg Jackson as Mr. Mell, a bespeckled, nervous little man who goes atwitter at the slightest surprise.

Little and Jackson rival the leads for laughs in every scene they're in. But this cast of seven has nothing resembling a weak link. Kozlowski, a company veteran, looks every bit the blond diva and is a skilled physical comedian as well. She got two of the biggest laughs of the night simply by sitting down. As Mansky, British actor McPhillamy is the perfect, blustery Ed McMahon to Jacoby's smooth Johnny. Gomes squirms delightfully as a failed lothario enduring professional indignity to cover his shame.

Another treat for Shakespeare Theatre regulars is to see Zeus, another company veteran, rise to a more featured role. He makes the most of it, investing Albert with some convincing, youthful naiveté, then making fun of it in a way that would no doubt make Molnar proud.