[NEohioPAL]CHARLEY'S AUNT Rave Review in Scene Magazine from Actors' Summit

Fri Feb 7 11:29:13 PST 2003

--part1_7b.959129a.2b753d0f_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

A Fine Farce 
The Actors' Summit warms up a tasty chestnut in Charley's Aunt. BY MARIE 
ANDRUSEWICZ 
The Actors' Summit shares its digs in tony downtown Hudson with an antiques 
gallery, a shrine to old-time charm crammed with floral-print postcards and 
milk-glass candy dishes. Currently on view in the theater across the hall is 
an antique every bit as quaint, yet somehow still fresh: Charley's Aunt. 
Relying on the timeless comic device of a gent forced to masquerade as a 
lady, this late-19th-century farce is a delightful synergy of oldfangled wit, 
taut staging, and eye-catching visuals -- including a pretty set lorded over 
by a portrait of Will Shakespeare, himself a great champion of the 
sexquerade.

The plot is as fluffy as meringue. Charley and Jack are two lovesick lads, 
debating how best to profess their tender feelings to the respective objects 
of their affection, Amy and Kitty. Ah, but how to express their sentiments 
appropriately in that too-proper era of corsets and high tea? A chaperone is 
required, and when Charley's Aunt Donna Lucia, who was to fulfill that role, 
fails to show up on time for a scheduled visit, a substitute is found: 
Charley and Jack's chum Lord Fancourt "Babbs" Babberly will impersonate the 
aunt and take on the role of chaperone. "I'm from Brazil," trills Babbs. 
"Where the nuts come from." 

To complicate matters, like many a theatrically hatched cross-dresser before 
her, the black taffeta-clad ersatz Donna Lucia attracts a couple of suitors 
of her own. Babbs must dodge their advances while maintaining the ruse, which 
becomes exceptionally difficult when the real Donna Lucia does turn up -- 
with Babbs's own long-lost love interest in tow. It should come as no 
surprise that, by the end, the various maneuverings and misunderstandings 
have been neatly repackaged in a heart-shaped box, tied up with a big satin 
bow. 

The crew at Actors' Summit has done a crackerjack job of animating this comic 
warhorse, making it well worth the trek to Hudson, even if you know Charley's 
Aunt (or its musical version, Where's Charley?) from its countless 
incarnations in community theaters and high school auditoriums, or you're 
familiar with the most famous film version, which featured the deliciously 
dry Jack Benny in petticoats for the title role. 

The young players in this production provide the decorous yet hormone-driven 
fuel for the farce. Jack Fairbairn makes for a sassy Jack, and Thomas R. 
Cummings is fine as the hapless Charley. A wee bit hammy, but effective 
overall is Tim Keo as the star-crossed cross-dresser Babbs; clearly, the 
actor is having big fun taking the audience along for the wild ride. Alisa 
Mae and Diane Mull hit the right pitch as cookie-cutter-pretty love interests 
Amy and Kitty, and Sasha Thackaberry contributes otherworldly grace to the 
role of Babbs's girl Ella. 

Nor is there a weak link to be found among Charley's more seasoned 
board-treaders. Paula Kline-Messner brings a Dolly Levi-esque bon vivant 
sensibility to the role of the real Aunt Donna Lucia, while Tom Stephan and 
Frank Jackman turn in solid performances as misled suitors Sir Francis 
Chesney and Stephen Spettigue. Although not a featured player, Robert Snook 
is a true pleasure to watch as Brasset the butler. 

Add to this tight, cutie-pie staging and costumes that are lovingly detailed 
to such a degree they dazzle, and you have a feast for the senses and a 
rollicking old-time good time at the theater. 

--part1_7b.959129a.2b753d0f_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: quoted-printable

<HTML>A Fine Farce</=
FONT> 
The Actors' Summit warms up a tasty chestnut in Charley's Aunt. BY MA=
RIE ANDRUSEWICZ 
The Actors' Summit shares its digs in tony downtown Hudson w=
ith an antiques gallery, a shrine to old-time charm crammed with floral-prin=
t postcards and milk-glass candy dishes. Currently on view in the theater ac=
ross the hall is an antique every bit as quaint, yet somehow still fresh: Ch=
arley's Aunt. Relying on the timeless comic device of a gent forced to masqu=
erade as a lady, this late-19th-century farce is a delightful synergy of old=
fangled wit, taut staging, and eye-catching visuals -- including a pretty se=
t lorded over by a portrait of Will Shakespeare, himself a great champion of=
 the sexquerade. 
 
The plot is as fluffy as meringue. Charley and Jack are two lovesick lads, d=
ebating how best to profess their tender feelings to the respective objects=20=
of their affection, Amy and Kitty. Ah, but how to express their sentiments a=
ppropriately in that too-proper era of corsets and high tea? A chaperone is=20=
required, and when Charley's Aunt Donna Lucia, who was to fulfill that role,=
 fails to show up on time for a scheduled visit, a substitute is found: Char=
ley and Jack's chum Lord Fancourt "Babbs" Babberly will impersonate the aunt=
 and take on the role of chaperone. "I'm from Brazil," trills Babbs. "Where=20=
the nuts come from." 
 
To complicate matters, like many a theatrically hatched cross-dresser before=
 her, the black taffeta-clad ersatz Donna Lucia attracts a couple of suitors=
 of her own. Babbs must dodge their advances while maintaining the ruse, whi=
ch becomes exceptionally difficult when the real Donna Lucia does turn up --=
 with Babbs's own long-lost love interest in tow. It should come as no surpr=
ise that, by the end, the various maneuverings and misunderstandings have be=
en neatly repackaged in a heart-shaped box, tied up with a big satin bow. <B=
R>
 
The crew at Actors' Summit has done a crackerjack job of animating this comi=
c warhorse, making it well worth the trek to Hudson, even if you know Charle=
y's Aunt (or its musical version, Where's Charley?) from its countless incar=
nations in community theaters and high school auditoriums, or you're familia=
r with the most famous film version, which featured the deliciously dry Jack=
 Benny in petticoats for the title role. 
 
The young players in this production provide the decorous yet hormone-driven=
 fuel for the farce. Jack Fairbairn makes for a sassy Jack, and Thomas R. Cu=
mmings is fine as the hapless Charley. A wee bit hammy, but effective overal=
l is Tim Keo as the star-crossed cross-dresser Babbs; clearly, the actor is=20=
having big fun taking the audience along for the wild ride. Alisa Mae and Di=
ane Mull hit the right pitch as cookie-cutter-pretty love interests Amy and=20=
Kitty, and Sasha Thackaberry contributes otherworldly grace to the role of B=
abbs's girl Ella. 
 
Nor is there a weak link to be found among Charley's more seasoned board-tre=
aders. Paula Kline-Messner brings a Dolly Levi-esque bon vivant sensibility=20=
to the role of the real Aunt Donna Lucia, while Tom Stephan and Frank Jackma=
n turn in solid performances as misled suitors Sir Francis Chesney and Steph=
en Spettigue. Although not a featured player, Robert Snook is a true pleasur=
e to watch as Brasset the butler. 
 
Add to this tight, cutie-pie staging and costumes that are lovingly detailed=
 to such a degree they dazzle, and you have a feast for the senses and a rol=
licking old-time good time at the theater. </HTML>

--part1_7b.959129a.2b753d0f_boundary--