Review: "Strangers and Romance" Strangeloop Theatre @ Trap Door Theatre Chicago, IL

Full disclosure:  I did not receive a comp ticket for this production.


This was an adventure.  Both in going to the theatre and reviewing the show.  The theatre is (and this may be an understatement) off-street.  And the show is hard to review. Let me explain.  First, the theatre.

You should see this when you look down the walkway.

Trap Door Theatre is a small, intimate, black box venue, tucked away between the structures of Jane's restaurant on the 1600 block of W. Courtland in the Bucktown neighborhood.  It's lucky that I read up on the theatre before I ventured forth, because I knew what to look for.  However, for some, it's going to require some backtracking, because you can pass it up easily.  The big clue is the sandwich board that has the name of the theatre and an arrow pointing down the narrow walkway between the two buildings.  Still, I missed the sign on first passing.    Once you open the door, you will find yourself in a junction between the service area's of Jane's restaurant.  Avoiding busboys and waitstaff, I crossed the hall and opened the door to a comfortable 45-seat black box theatre.  Who knew?  By the way, head a few doors east of there and have something at Courtland Garage.  Thursday's $7 Taco Special is delicious, and the right start to the evening.


Strangers and Romance are two one acts written by Barbara Lhota, and presented by Strangeloop Theatre.  They share time (Christmas Eve) and geography (Boston).  More than that, they are both an exploration of the feelings of loss inside and outside relationships that have become dysfunctional.  Usually this is where I give you a wiki-link to a show description.  But there is none. I knew nothing about these plays, and I am convinced that's the best way to experience them.  Too much information here will spoil it for all.  It's a fun, thought-provoking journey to take if you give yourself over to how it all unfolds. Each beat reveals more of what is going on until you have an "ah-ha" moment.  That discovery is fun.  Each layer comes through conversations that sound like something people would actually have.  The difficulty in reviewing the show, specifically Strangers, is that much is revealed about the two characters through twists in the clever text, and that's how it should remain.  

Misti Patrella and Tony Ketcham

The setting for the first act is a commuter station that is about to close for the evening and becomes the backdrop for the encounter between the two characters.  Misti Patrella and Tony Ketcham, do a nice job, though I felt Patrella had more of herself invested in the performance and brought a level of honesty that held my attention.  Ketcham became too engaged in the acting, rather than the character, so for me, he drifted in and out of the scene.  Still, he was able to hit his stride in a wonderfully presented ending to his emotional arc.  Finally, I have to give kudos to the author for her wicked humor that undulates just beneath the surface of the text.

Stacie Barra and Timothy C Amos

The show's set is a nifty piece of work that transforms from the train station in the first act to a wedding chapel in Romance, the second act.  The act also explores loss both in and out of a relationships and the emotional baggage we carry with us. The characters go through an unburdening - an almost confessional process - that plays appropriately within the confines of the religious setting.  Again, Lhota's text is fun, witty and offers the right amount of pathos without becoming sanguine. And, as before, you can feel her humor layered through the piece.  Stacie Barra and Timothy C. Amos play the couple and Barra is superb.  She has honed her skills of nuance, timing, and honesty to create a mesmerizing portrayal of a woman asking questions and seeking direction in love and life.  Amos is not as successful in the start of the act, with a few moments that felt hollow.  But once the interplay between them really begins, his character becomes more accessible.


Directed by Doug Long who uses simple staging, the production allows the text and actors to shine in this intimate setting.


Was it worth the price of admission?  Yes, it was. And there is currently a special on Gold Star for 1/2-price tickets.  Oh yes, I almost forgot...keep the program.  You can use it to receive a discount on tickets to see another Lhota play, The Double, presented by Babes With Blades.  And, it is also the subject of my next review.

Review: "You're A Good Man, Charlie Brown" Players Please Theatre Lisle, IL Ends 8/28/11

In case you missed it, a comment was left on the The Hot L Baltimore review.  It said "Thanks for your post Bill...do you think you should also extend your review to other aspects of the 'theater experience' like 1) Were the seats comfortable? 2) Was it a pleasant place to see a production? 3) Was it easy to park your car and get to? 4) Were the bathrooms clean? I mean, aren't those things important too when seeing a show?"  Really?  REALLY???  You've got to be kidding.  Good grief!!!  I'm sure for some, those are important questions.  But I'm more concerned about what happens on the stage.  Clean bathrooms?  I'm a guy.  We're happy if we get close to the target.   Comfy seats?  I just need a place for my big butt.  Do these pants make my butt look big?  No, it's my fat ass that does that.

That being said, let me tell you a bit about the Trinity Center, which Players, Please Theatre, the group presenting You're A Good Man, Charlie Brown, calls home.  It's a new location for them, and it's a nice, clean venue.  There is an aura of being utilitarian and functional.  The theatre reminded me of a modern take on what was called the multi-purpose room when I was in grade school.  The sign on the wall says it holds approximately 350 people, but can be converted for a smaller crowd with large round tables if it needs to be used as a banquet facility.  There is a stage that can be used for Sunday services, bands, and the Players, Please show.  There is a dazzling array of projectors and flat panel screens that could be used to enhance a show.  It is owned by Trinity Lutheran Church, has a preschool annex, a play-land like you've seen at McDonalds, and a cafe that is open for show patrons before the show and at intermission.  You can get sandwiches, specialty coffee, bottled water, teas and a slew "health conscious" menu items.  There are cafe tables, seats and free wi-fi.  Oh yeah, it's part of a strip mall, so there's plenty of parking.  My fat ass was well comforted.  And yes, the bathrooms were clean.  Full disclosure:  I received a comp ticket.

Unfortunately, only about 20 people were in the audience on opening night.  And we were spread out.  It's hard to get a feel for audience reaction when the audience is a needle in a haystack.  For future shows, Players, Please might want to think about moving a cluster of the chairs closer to the stage.  Something reasonable in terms of how many people they think will attend.  You can always add more if need be.  Then you can group them together, creating a more intimate theatre-like experience. The space has a lot of possibilities, given just how adaptable it is.

As for this show, opening night was marred by technical gremlins that stole much of the show's thunder.  There were dark places on stage from a bad lighting plot, or loss of light channels.  I was surprised the actors didn't seek the light.  If you're on stage, one would think you want to be seen.  There were a few mishaps on sound, and torpid scene changes.  Of course, it's easy to blame failings on the technical hiccups of a show, but truth be told, they had little to do with the real problems that I witnessed.  A good portion falls on the show itself.  Want the skinny on the show?  Go here.  New version/old version; it doesn't matter.  It's a tired show.  Sure, it can be cute and adorable, especially if done with some energy.  But this show lacked the crisp pace, so the cute and adorable were a thin veneer that showed age quickly.  The show is a series of "daily comic strips," moving from one scene to the next as a series of blackouts.  They should snap from one scene to the next.  They didn't.

The singing was all over the place.  The harmonies in the first number just weren't.  Many people had trouble with their lower register and couldn't support the notes, so they hardly could be heard.  Others had trouble sustaining the high notes, making what should be an invigorating sound come off brassy and sharp.  And yes, I'm aware that Lucy is supposed to sing like that, but it still needed to be done well to make it funny.

I would talk about the dance numbers, but they also weren't.  Carla Mutone's choreography was cliched and predictable. Two words:  jazz squares.  Yes, jazz squares!!!  I think I might have spotted a jazz hand and a sparkly hand a time or two.  And, there was a moment when the drum-line formation (where one person is a spinning center axis and the rest march around in two lines straight off the axis) started to bend so badly that I thought they would form a swastika.  The band did a good job, but there were the occasional squeaks and miscues. 

Let's go to the actors, in order of the program.  Patty is played by Traci A. Cidlik.  Patty is supposed to be a child.  This Patty was an adult pretending to be a child.  I saw the acting.  Nothing honest, nothing child-like.  Not even childish.  She wore a wig that looks like a helmet of hair, and her movement was so stiff that I thought she was a robot.  Perhaps it would have helped if she could have transformed into a Camaro.

Spencer Diedrick was Linus.  He was OK.  In fact he sold his blanket song and has a nice voice.  But there was no joy of performance displayed.  He needed to have more fun with it.

Lisa Dawn Foertsch was Snoopy.  And a wonderful one at that.  She embodied the role, was physically and spiritually committed to the character.  My eyes were drawn to her because she had energy and it showed.  While a few others shut down when it wasn't their line, she was engaged and present each moment.  There were times when the songs got out of her comfort zone, but overall, a delight to watch.

Schroeder is portrayed by Zachary Gibson.  Another delight to watch.  I just saw him in the Picasso fiasco at WDI where he'd shone above the others.  Here too, he displays the ability to immerse into a character and bring it to life.  He was a kid.  Who knows, maybe he is in real life.

I had some real problems with Lucy, and I can't quite put my finger on it.  I thought she looked psychotic.  Something she was doing with her eyes and mouth (I think it was to imitate the hand-drawn likeness of Lucy) was disturbing.  And it was all on one level.  I know that Lucy is on one level, but there has to something in her that makes us care when she gives the last line of the show (spoiler alert...it's the title of the show).  It has to resonate with some sense of honesty and meaning and she did nothing during the show to make us believe that Lucy is capable of that.  And, It comes after the best group number, "Happiness", which is supposed to leave you all warm and fuzzy.  Anyway, Genevieve Pastore is Lucy.

And that leaves us with Charlie Brown, played by Stuart Vance.  I saw Stewart as Man in Chair in The Drowsy Chaperone at WDI.  I thought he did a nice job with that character.  But with CB, I felt I was watching Man in Chair wearing a Charlie Brown t-shirt.  Maybe because he used the same voice.  It works for Man, but not for Charlie.  He also had some problems with the vocal range of his songs, with the pen-pal number ending in a very weak voice.  As for his character, I never felt he connected with the child in Charlie Brown.  And while I'm not that hung up on how people look, Stuart is a tall man with a full head of hair and is the antithesis of the iconic Charlie Brown visual.  I will give him credit, though.  He tried to find his light.  He sidled to accomplish it and it looked silly, but at least I could see him while others played in darkness.  Take that however you wish.

Is it worth the price of admission?  Well, I'd like to see this theatre company succeed in it's new space, and much of that will rely on ticket sales.  So, to support Players, Please, yes, come out and experience the space, and use your imagination to transform it into a great black-box theatre.  If you need a show that's family-friendly, then you should go.  Send the kids in and you sit in the cafe, playing Angry Birds, and reading my blog on their free wi-fi.  If you want a night of quality theatre, maybe not so much.

The show runs approximately 95 minutes, with intermission.  For ticket information, directions and other stuff, go here.

Review: "Twelfth Night" - Janus Theatre, Elgin IL Ends 8/27

See this show!  Run, don't walk to your nearest phone!  OK, these days it's really just a matter of reaching into your pocket.  Just do it.  Dial  847-841-1713 and reserve your tickets to see the best theatre I've witnessed in many, many months.  For more information, including directions to the theatre, go here.


This show is running in repertory with The Importance Of Being Earnest.  Both are being done by Janus Theatre.  I wasn't the biggest fan of the Wilde production, but I urge you to see Twelfth Night.  I'll wait until you have your ticket.


Got it?  Good.  OK, here's what you're going to see:

• A show that has great respect for the audience.  The actors are driven to connect and communicate, and do a damn fine job of it.  Director Sean Hargadon has altered, edited and re-imagined Shakespeare's work to make it pithy, direct and accessible to everyone.  This is not your father's Shakespeare.  It's better.  From the directors notes in the program, Hargadon says, "One thing is for sure, I have taken some liberties with the text in order to present a version of the play that attempts to streamline the story, heighten the comedy and provide some unexpected dramatic moments.  No doubt there will be those who say this is not true to the playwright."  He goes on to say, "The primary goal is to create an experience that is new and unexpected rather than another rehash of a classic that we all should dutifully watch as if we were in church.  Hopefully some of our choices land with the audience. The point of playing is for them after all."  My sentiments exactly.  Theatre companies and productions are there to serve the audience.  Otherwise, why do it?
• One of the finest acting ensembles I've ever encountered.  And for anyone who has been confused by the "seeing the acting rather than the result of the acting" discussion and how it applies to honesty of performance, here is the perfect example of actors being their characters rather than acting their characters.
• Marvelous pacing driving the story forward.  No lulls in the action and tremendous timing by the cast.  A masterpiece of the craft of acting.

On the off-chance that you don't know the story of Twelfth Night or As You Will, please go here and learn more than you need to know.  As I mentioned, it is a true ensemble piece, but there were several performances that stayed with me after I left the theatre.  Liz Vanderhoof does an extraordinary job as Viola, who makes a seamless transformation into the squire Cesario.  Kathleen Donoghue and Sarafina Vecchio displayed great comic timing as Olivia and her maid, Maria.  Chris Bibby is absolutely delightful as Sir Toby Belch and Tyler Thompson rocks the room as the fool, Feste.  The rest of the cast is fully committed to the show, delivering great turns and leave it all out on the stage for us to admire and drink in.  Nary a false note from this group who gave us complete honesty

Usually, I can go on for pages, but this time, the performance speaks for itself.  See this show and experience just how good local theatre can be.  Is it worth the price of admission?  Really?  After all that, you need to ask?

Running time:  100 minutes, with intermission.  And they will be the best 100 minutes of theatre you're likely to see in a long time.

Review: "The Hot L Baltimore" The Drama Group, Chicago Heights, IL Ends 8/14

All of the current business was put forth in the last review, posted 8/10/2011.  So let's get right to it.


Recently, there was a production of The Hot L Baltimore at Steppenwolf Theatre that I wanted to see because it was one of the first shows I'd seen when I started college.  I don’t recall whether I enjoyed it or not.  All I remember is one of the denizens of the hotel was played by Agnes Belushi, mother of John and Jim.  I never saw the Steppenwolf production (which met with mixed reviews), so I was very excited to learn through Theatre in Chicago's website that another local theatre, The Drama Group in Chicago Heights was mounting a production.  I called and asked if they would like me to review their production.  They set aside a comp (full discourse achieved) and I went to the opening night at their very spacious theatre and was delighted with their excellent set.


If you don't know the show, I have the wiki-info linked to the word "wiki-info".  You may have noticed the scant description of the show.  That’s because there’s not much to write about as there is no story line, just a situation:  A grand hotel has gotten old and fallen into disrepair, and is slated for demolition.  The residents are being evicted and forced into having to find ways of coping.  After seeing it in 2011, I found it has not sustained relevance over the past 40 years.  We've seen these character types many times since Lanford Wilson wrote the play, and we will see them again.  We are well acquainted with their trials and tribulations and their journeys through life.  There’s nothing new here to discover.  We are aware of the spiritual and physical obstacles these characters must face because endless afternoon specials, movies of the week and live theatre have tread the same ground over these years.  Yes, Lanford Wilson was a profound humanist and superb playwright, and you can see how much he cared about his characters in this show.  But over the past 40 years, we've seen similar stories better told.


As I was doing research for this blog entry, I came across this statement in a review of the Steppenwolf production, “...this play depends heavily on the performance of its ensemble. Lanford Wilson’s script offers little help for faltering actors. This is not a play for lengthy monologues, dramatic entrances, or third-act revelations. The story lives and dies on the actors’ ability to fabricate a vibrant, frighteningly conflicted community of lost souls who have been pushed to the bottom of the social hierarchy. And while a few actors strive to create such a community, others simply cannot pull it off. Some acting is downright shoddy...while others are competent enough but cannot respond well to their castmates. Even more so than in many other plays, the cast of The Hot L Baltimore is only as strong as its weakest link."  My first thought was, “Damn, I wish I had written that.”  The reviewer summed up everything I wanted to say about this show. To read his review, go here.


Here’s what I saw in The Drama Group’s production:  most of the characters were just caricatures, with the actors relying on artifice as a substitute for any real substance.  I think that's a lazy approach.  Dialects, limps, annoying stuttering, over-the-top bombast, and stereotypical portrayals were used to add depth to characters, but were nothing more than a superficial coating that speaks of a lack of truth in the moments.  One of my notes was, “Lots of vocal gymnastics that did not support the characters.”   Many times, the blocking was awkward, with backs to the audience.  I’m not a stickler about that, but when an entire scene is played with the actor’s butt facing the audience, it shuts us out of the scene, excluding us from feeling the connection between the characters.  I’m sorry, but there are very few asses out there that can communicate well.  Take that however you may.


And then there was Act 2.  More of the same, only longer.  This is actually a 3-act play, but this production decided to meld the last two acts together.  The energy of the cast could not sustain the length and the whole thing started to lag, and then crawled to the finish.  I was praying for the wrecking ball to come crashing through the wall.  And, honestly, I didn't care about many of the characters because I was never given a reason to empathize.


As I said, the set was very nice and dilapidated as is fitting the show.  Technically, it was good, except for the disconcerting “tuning the radio” sound between songs in the pre-show music.  Trite.  And, they went safe with the “Suzy drops the towel” scene (she wears a classic Victoria Secret’s ensemble, which looked rather too rich for a prostitute living in a flea-bag hotel), but left the language mature.  By the way, someone should grab a can of WD40 and spray the squeaking on-stage chair that took away from a heartfelt moment from Deb Brunette in the role of Millie, the old lady of the lobby.  


Given all that, there were a few performances that I thought were wonderful, but just not enough to carry this show through.  Remember this name:  Kaci Antkiewicz.  Kaci delivered an honest and truthful performance as Girl, a young prostitute with a savant-like knowledge of train schedules.  The character tries to see good in everything, no matter how bad it is, and this young actor hit the right balance of emotions to show her struggle to hold on to that disposition. She came to life and has the “it” factor.  Also doing a nice turn was betty wigell (of the e.e. cummings school of capitalization) as Jackie, the young girl who is light years ahead of the organic foods wave.  I had trouble with her uncontrolled frenetic movements at first, but she has a nice, powerful moment later in the show that sold me.  Basically, she gave into the raw emotion and connected with her character and the audience.  And kudos to Kyle Decker, who was real and grounded in his portrayal of a man in search of his grandfather.  I'll leave it at that.


So, do I think it’s worth the price of admission.  Unfortunately, no.


For more information on tickets, location and general things about the group, go to their website.

Review: "The Importance Of Being Earnest" Janus Theater, Elgin IL Ends 8/28

A few items of business:

1. In the comments from the last post, I received the following: "I know that you love "community theater" from both the participation and audience standpoint. Your blog could do a great service by also announcing each week what shows are out there to be seen and where, even though you may not be doing a review. I often get annoyed that sometimes it is not the easiest thing to find out what shows are being done from week to week. As you seem to have "your ear to the ground" and get information about a lot of productions, your mention of them would do community theater a great service."  That’s not a bad idea.  I also have a hard time finding information about shows, and rely on different resources like greenroomonline.org and theatreinchicago.com (which is how I learned about The Hot L Baltimore in Chicago Heights, the subject of my next review appearing tomorrow).  If anyone knows of a source providing this service, please let me know.  I will consider doing it, but it is a matter of time.  I need to find a calendar gadget that will work with this blog that will be easy to maintain, given the fluid nature of the information.  Most importantly, I need the information.  There are many theatres out there with many schedules.  Taking the time to gather it all is overwhelming.  I’m sure there are theatre companies out there of which I've never heard.  I know most of the ones in the western suburbs, since that is where I live.  But I would want to include all of Chicago and the surrounding area.  I’m trying to do that through the reviews.  Last year, I reviewed shows in Highland Park and Bolingbrook and Joliet.  This past week I saw a show in Elgin and Chicago Heights.  This week I’m seeing something in Elgin and Lisle and at my favorite storefront theatre in Chicago.  And there are other productions going on.  The events calendar will only be as good as the information I receive from the theatre companies. They would have to add me to their “press release” list.  I won’t know about their show until they send it to me.  In other words, I won’t pro-actively seek it out.  If they want to be on the calendar, they need to indicate so by sending me the information. I also think it needs to come from the theatre, not a cast member, or relative or friend.  I think that’s fair.  I can then cull out the cogent information and put it on the calendar.  I will look for something that will work with the blog.  Let your theatre companies know that I’m willing to do this, and it’s something that can be up and running by the start of most theatre seasons in mid-September.
2. I also received this comment: "Could you do a review of Jedlica Performing Arts in Cicero's production of "Man of La Mancha"? I'm not involved and I can't see the show myself but I'd love to know what you thought about it. Promise to reimburse you your cost."  This addresses a number of items.  First, I didn't know there was a production of this show going on, which further demonstrates a need for a calendar of events as discussed above.  Second, there are only two performances left, so going to review a show on its last weekend doesn't make sense.  I normally won’t review a two-weekend show unless I know I can get a review posted before the start of the last weekend.  The promise to reimburse my cost is a nice thought and brings me to my last item of business...
3. I am changing my policy on comp tickets.  It’s explained in the recently updated “start here” pages.  Basically, the new policy is: If the theatre gives a comp ticket to reviewers, I’ll accept it to help defray other costs.  In return, I promise to have my review posted before the opening of the next weekend.  The comp will not affect my tone.  It will only prioritize my postings.  This doesn't mean that I won't review shows I have to pay for.  It's just that those who have asked me to review will get higher priority on my list of getting the review posted.

So, on to the review:

Full disclosure:  I received a comp ticket.  Also, I directed Jocelyn Adamski in a production earlier this year.

The Importance Of Being Earnest by Oscar Wilde is considered a classic.  And rightly so.  For more information about the play and playwright, go here.  It is also, by definition, a farce:  a light, humorous play in which the plot depends upon a skillfully exploited situation rather than upon the development of character.  So, while it is not of the slapstick, door-slamming variety, it is a farce nonetheless.  Its success relies on ridiculous situations, silly social manners, trivial assumptions and clever wordplay;  all of which need precise timing to make them crackle with excitement.  Unfortunately, what I witnessed opening night at Janus Theatre missed the target.  Not by much, but enough to keep it from being a very good production.

Overall, the show suffered from a lack of energy and playfulness. Pacing seemed a problem at times, and humor was lost due to faulty timing.  One of my notes during Act 1 was, “Everything is moving through molasses.”  At least, that’s how it felt.  The other element that was missing was honesty.  A strange term to use in a farce, but it has to do with the performance of the actor.  The characters portrayed need to feel real.  Someone once told me, "Farce is reality plus one."  Rather insightful given who told it to me.  My feeling is I don’t want to see the work - I only want to see the result of the work.  I don’t want to be put in a position where I ask, “Why did he/she make that awkward choice as an actor?”   I should be able to just accept it because it feels honest.  Seeing the acting is seeing the pretense and makes the experience as an audience member less satisfying.

Jack is portrayed by Dennis Edwards, and Algernon is played by Corey Noble.  They are gentry with epicene movements and very little moral architecture, as is expected.  Noble appeared very comfortable and committed in his charming portrayal.  On the other hand, Edwards seemed disconnected and not at all confident.  His character felt forced, as did his actions.  For example, in the beginning of the show, his character picks up a decorative pillow and holds it awkwardly, only to throw it at Algernon to emphasize a point.  But it felt fake, as if the only reason he did it is because his director told him to do it.  There was nothing driving his action to make it feel real.

I had similar issues with Gwendolyn as played by Lucy Zukaitis.  Most of what she did was posturing, which fits the character, but not the actress.  Her posturing felt forced. I didn't glean any honesty from her as an actress. And when Gwendolyn and Jack had scenes together, there was no connection or chemistry between them.  Yes, the characters are jejune, but it needs to be honest for us to accept it.  It's the difference between seeing them act at being shallow and seeing them be shallow.  Jose DeJesus plays two different menservants and either squandered an opportunity to create two memorably distinct characters, or was never pointed in that direction. 

There were some good performances that need mentioning.  Patricia True and Brad Davidson brought excitement and energy to Act 2 with their interpretations of Miss Prism and Rev Chasuble.  They worked well off each other and made a delightful couple. Brian Rabinowitz does a nice turn as Lady Bracknell, bringing energy and life to Act 1 at a time when it was waning terribly.  I would have preferred that he not use the falsetto voice because, at times, it hampered the rapid-fire wordplay the character often engages in.  And it is an element of artifice that was unneeded.  I was hoping for something more along the line of Charlie's Aunt.  But overall, he did a nice job, honoring the tradition of having a man play that character and created quite a formidable Lady.


The highlight of the evening was the performance by Jocelyn Adamski as Cecily.  She captured the essence of these farcical creatures beautifully and was fully believable.  She kept in the scenes, unlike some of her fellow cast members who occasionally darted glances at the audience.  Her energy brightened each scene she was in, driving them forward and her movements were motivated rather than directed.   Mostly, she commanded our attention, which some of the others were in danger of losing.


So, while there were performances that shone brightly, there were others that sapped the energy out of scenes.  And, because I found myself not fully engaged in the show, I started noticing things and asking myself questions.  Such as, "Why are they using that bell, which can't be heard in another room to summon a servant?  "Why are some characters breaking the 4th wall and directing asides to us when it's not written that way?  Did the director Terry Domschke think this added a needed dimension to this classic?" "Why does Act 3 feel under-rehearsed?"  I shouldn't find myself thinking these things.  My eyes and mind should be glued to the stage.


It's a wonderfully witty play.  This production just needs polishing to give it the performance the show deserves.  Still in all, it was entertaining.  And the performance of Adamski and a few others tip the scales to "favorable."


Is it worth the price of admission?  A conditional yes.


For more information and to reserve tickets, go to the Janus website.