Review: THE FOREIGNER at AD Players

A.D. Players' production of Larry Shue's The Foreigner is a tour de force of comedic timing, heartfelt storytelling, and impeccable stagecraft. From the moment the lights go up, this production captivates with its clever direction, phenomenal cast, and stunningly realized world that immerses audiences in the rural charm and eccentricities of a 1980s Georgia fishing lodge. Laughter abounds, but beneath the humor lies a touching message about human connection, transformation, and the surprising strength that can emerge in unexpected circumstances.

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At the play's heart is Charlie Baker, portrayed by John Johnston with masterful precision and boundless charm. Charlie's journey from a painfully shy, socially awkward man to an unlikely hero is spectacular. The actor's comedic range is on full display, with impeccable physical comedy—whether it's his exaggerated attempts to mimic an unfamiliar language, his wide-eyed reactions to the chaos unfolding around him, or his delightfully absurd storytelling as he pretends to communicate in an invented dialect. Yet, amidst the laughs, his portrayal has an undeniable emotional depth, making Charlie's transformation feel genuinely triumphant.

Balancing Charlie's meekness is Froggy LeSueur, played with effortless charisma and a delightful sense of mischief by Kevin Dean. Froggy, a seasoned British military demolitions expert, is the catalyst for the play's central deception, and his interactions with Charlie provide the perfect setup for the comedic madness. Dean's sharp and confident delivery ensures every quip lands with the proper bite.

The supporting cast brings an infectious energy to the production. Betty Meeks, portrayed with strength and vulnerability by Houston's favorite Susan Koozin, adds a layer of emotional complexity to the story as she struggles with societal expectations and growing affection for Charlie. Her resident brother and son-like figure, Ellard Simms, is a comedic standout. Gabriel Mullen's ability to play the well-meaning but often underestimated character with humor and heart makes Ellard's journey—proving his worth to himself and those around him—especially rewarding. His scenes with Charlie, where he excitedly attempts to "teach" him English, are comedic gold.

On the darker side of the spectrum, Owen Musser, the menacing and bigoted antagonist, is played with an unsettling mix of smarminess and explosive frustration by Jeff McMorrough. His growing paranoia over Charlie's supposed "foreign" abilities leads to some of the play's funniest and most satisfying moments. Meanwhile, Catherine Simms, the warmhearted older sister of Ellard Simms, exudes charm and sincerity, adding a sense of comfort to the production. Her unwavering kindness toward Charlie, despite her complete belief in his supposed foreign origins, is hilarious and deeply touching.

While the performances are undeniably the heartbeat of the production, the design elements elevate The Foreigner into a truly immersive theatrical experience.

The set design by Steven C. Kemp is astounding. The moment audiences enter the theater, they are transported to Betty Meeks' rustic fishing lodge, thanks to an exquisitely detailed set. The scenic design strikes the perfect balance between realism and theatricality, creating an environment that feels lived-in yet dynamic. The well-worn wooden furniture, the mounted fishing trophies, and the cozy yet slightly cluttered atmosphere all contribute to a sense of place that is both charming and essential to the story. The set's multiple entryways and hidden nooks allow for some truly inspired staging, particularly in moments of physical comedy where characters narrowly avoid detection.

The lighting design by David Gipson plays an understated but crucial role in shaping the play's mood. Warm, golden tones give the lodge a welcoming glow, reinforcing its role as a haven, while sharper, more astonishing lighting shifts subtly during moments of tension—particularly in the climactic showdown with Owen and his cohorts. The designers also effectively use shadow and dim lighting to heighten moments of secrecy and comedic suspense, allowing for perfectly timed reveals and misdirections.

The costuming by Samantha Dante Patterson subtly reinforces the characters' personalities and social dynamics. Froggy's military uniform immediately sets him apart as a worldly figure, while Betty's practical yet slightly frumpy attire makes her the picture of a no-nonsense but loving Southern innkeeper. Catherine's polished but slightly relaxed outfits reflect her internal struggle between societal expectations and her desire for independence. Meanwhile, Owen's scruffy, almost-too-polished look—reminiscent of someone desperately trying to seem respectable—adds another layer to his characterization. And, of course, Charlie's evolving wardrobe subtly mirrors his transformation, shifting from stiff and buttoned-up to something more confident and expressive.

Though much of the play's comedy is rooted in physical humor and dialogue, Micheal Mullins's sound design provides subtle yet impactful enhancements. The occasional creak of the lodge's wooden floorboards, the distant sounds of the Georgia wilderness, and the climactic moments punctuated by carefully placed sound effects all heighten the play's realism and comedic beats. In moments of heightened emotion, the soundscape subtly shifts to underscore the tension or relief, reinforcing the production's careful balance between humor and heart.

A.D. Players' production of The Foreigner is a shining example of how comedy can be wildly entertaining and profoundly meaningful. The production boasts a cast at the top of their game, delivering performances as heartfelt as they are hilarious. The design elements—from the richly detailed set to the thoughtful lighting and sound—work perfectly to bring this quirky, lovable world to life.

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