The Arts, Etc.

The Majestic Theater
http://www.majestictheater.com
presents

Escanaba in Love
by Jeff Daniels

October 28 – December 5, 2010
Performance Schedule:
Wednesday - 7:pm; Thursday – 7:30pm; Friday and Saturday – 8:pm; Sunday - 2:pm

In this Soady saga set in the family deer camp,

it's not man versus deer

but the Soadys versus womankind.

Reviewed by B K. Grant

Upon entering the theater, this reviewer was immediately transported to the “one and only Soady deer camp”: wide boards floor to ceiling, rustic four-by-four construction, nestled in a sprinkling of slim white birches and founded on rock-covered terrain. The tattered sofa (and I’m being kind) is draped with an equally tattered blanket; the hand water pump and the glowing wood stove are indicative of 1944; Greg Trochlil’s (design) and Craig Milne’s (construction) set is the perfect get-away. Add in a few little brown jugs and a wall-mounted deer head and the audience has a hint of what the Soady family is all about.

As act one opens to a lively banjo, great grandpa Alphonse Soady enters the camp, lamenting (and bragging) about the great ‘Soady Buck’ that begged to be taken down. Frequently adjusting the earflaps of his furry hunting cap, Grandpa is a bit demented, crying over his shooting of the great animal he loves: “My emotions are incontinent” he explains. John Thomas Waite* (JT) brings years of ammunition to this role and firmly nails the character.

Albert Soady, Sr., brilliantly played by Chris Shanahan*, arrives with armloads of duffle bags and blankets, shoots the weepy old man a look and stomps out. When he returns, he is loaded down with wood for the stove and has had it with great grandpa. Albert is the typical son put in the position of watching over an aging parent, extracting both compassion and hearty guffaws from the audience.

‘Salty’ Jim Negamanee is a crotchety seafarer who, although maimed in a strange accident years before, manages to join in the camaraderie. Shaun Barry has this role down pat, expertly handling ‘Salty’s’ twitching and uneven gate.

Having tipped the little brown jug several times, the boisterous trio extends a riotous welcome to young Albert, Jr. when harrives. Superbly played by Paul de Vries (his first at the Majestic), Junior is off to war bright and early the next morn, and the send off he has in mind is quite different from that of his fellow campmates. After tipping a few more, he announces he met a girl who’s the “spittin’ image of Ma – only different”, just got married, and needs the camp for a one-night honeymoon. A woman in the “one and only Soady deer camp” is unheard of’– especially during deer season.

After waiting in the truck a tad too long, ‘the woman’ barges into the camp and declares that Big Betty does not like to be kept waiting, making the family’s introduction to Big Betty Balou less than cordial. Meghan Lynn Allen* (most recently in Little Shop of Horrors) masters the role of Big Betty, beautifully portraying her rough edges and her softer side. As the first act closes,Big Betty and Albert Jr. are on the sofa experiencing a prelude of what they hope lies ahead for them that evening.

During intermission, strains of the Andrew Sisters’ “Bei Mir Bist du Schoen” remind us of the war effort and the Big Band Era of the ‘40s. In sharp contrast, lively banjo pickin’ again opens the second act, happily returning us to the camp.

Much to the delight of the house, act two opens with the prelude on the sofa, while the tipsy trio ponders the direction of the relationship. As Big Betty readies herself (a lovely, flowing flannel nightgown) for the wedding night with her obviously naïve husband, she whispers “Does anybody have a toothbrush? I have to comb my eyebrows”. And the audience roars! Realizing the situation is progressing, the family devises a few simple tests Big Betty will have to pass before she becomes Albert Sr.’s daughter-in-law. Upon seeing Big Betty dance, ‘Salty’ Jim is reminded of a distasteful event from his past involving Betty and the atmosphere quickly changes. Big Betty feels that she is again in a place where she is not wanted, packs up, softly kisses Albert Jr. on the cheek and leaves. Amid reassurances that it’s for the best, Junior is still determined to go after Big Betty; however, before he has a chance to act, she returns, a bit wet and cradling a thirty inch Rainbow Trout in her arms. The set darkens and under a single gentle spot, Betty morphs into the spirit of Albert Sr’s dearly departed wife, reminding him of another fishy experience and encouraging him to avoid making the same mistake again.

Don’t miss this terrific play; share the Escanaba experience with your friends and neighbors.

I am always amazed at the range of talent exhibited in a production; Escanaba in Love is one of the best plays this reviewer has seen recently. The combination of Rand Foerster (director) and Danny Eaton (producing director) proved to be a winner. Christine Thompson, along with her assistant Nora Lynch did an outstanding job with the costuming - spot on for the event and the era. Daniel D. Rist’s lighting design perfectly set the ambiance and Tom Shread’s sound design with Andrew Eaton at the sound board resulted in a lively environment. The choreography of Karen McMahon had all the happy feet moving exceptionally well. Managing the stage of this Escanaba production was handled marvelously by Alma Negro* and Rachel Putnam*; and Karo Kilfeather (production assistant), Amber Tanudjaja (master electrician) and Aurora Ferraro (technical assistant) successfully performed their important duties. Also helping to make this production as great as it is are many others involved with photography, marketing, box office, the café and many more.. The Majestic Theater continues to provide top notch entertainment largely due to a top notch complement of conscientious lovers of the theater.

Escanaba, Michigan is an actual town on the NW shore of Lake Michigan.

*The Actor appears through the courtesy of

Actor’s Equity Association, the Union of Professional Actors,

and Stage Managers in the United States.

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