Cockpit's "Foreigner": Homespun Hilarity

◊◊◊◊ 1/2 out of five. 

Larry Shue's The Foreigner, is rather slim in terms of grand themes, and rather well-fed in terms of situational comedy.  You'd think there'd be pretty much only one way to do it.  But, true to the variety and quality of the Baltimore area's theatre community, this summer has given area theatergoers three vastly different productions of the same play.  The last entry in this mini revival opened last weekend at Cockpit-in-Court at CCBC-Essex, under the creative, tight direction of James Hunnicutt, and features one of the better cast, hard-working ensembles of actors seen recently on the local stage. 

Pretty much my only squabble with the play isn't really this production's fault.  The opening scene is rather long and chock full of what turns out to be very important details.  That much exposition can be pretty dry, and isn't helped by an almost utter lack of action.  But, and it's a big "but", once the play gets going, it takes off like a rocket to the moon!  The Cockpit version is no different in that regard.  In fact, the cast seemed to struggle a bit with the first 10 minutes or so (opening night adjustments, I'm sure).  Mr. Hunnicutt has done the best he could with the opening, creating as much movement as possible while still being realistic.  He clearly knows his way with this comedy, carefully building things up, and always keeping one foot firmly in reality no matter how ridiculously out of hand the play gets.  No easy task, I assure you. 

He also has a way with directing in the round.  Not only does he always make sure each movement by the actors is based in need and reason, but Hunnicutt has also done a masterful job at making sure everyone can see everything throughout.  Again, this is not an easy task, for not only are there patrons all around the stage, they are seated at tables three tables deep, with only the last, outer ring raised, and with the first row practically touching the stage!  It helps that this director has surrounded himself with a terrific production team, equally on board with the in-the-round presentation this space requires. 

Bart Wirth's country cabin set is nicely set, with completely separate areas for registration of guests, a living room-like space, a dining area and three practical exits.  Not bad for a space that is maybe 10 feet by 10 feet or so.  And add to that the one exit also features a functional cellar door, which figures prominently in the closing minutes of the play.  Brad Ranno's lighting is appropriately ambient, and manages to give effects both "inside" and "outside" the house.  His sound, too, is quite good, really making it feel like the action outside is actually all around us. 

The super cast works well both individually and as an ensemble, which especially crucial to the down home Southern feel and politically charged atmosphere of this piece.  J.R. Lyston, with an impeccable British accent, blusters and cajoles his way through the role of Froggy Le Sueur.  He is very funny, with wonderful timing, and seems equally at home being a best buddy, a warm friend, and charming trickster.  In the somewhat tricky role of Owen Musser, H. Ray Lawson manages to be a redneck stereotype, a backwoods hick, and a dangerous man all at once.  A major aspect of his role is to spew vicious hate-filled dialogue, and a few times Mr. Lawson looked a smidge uncomfortable; his delivery still had quite a bite.  Joey Hellman, as the Reverend David Marshall Lee, gets every tidbit out of his juicy role of pious man-of-the-cloth turned bigot, and generally appears to be having a great time playing the part.  He has that sanctimonious tone of voice down pat, and when he turns on the venom, his whole face changes, which is pretty creepy, adding an interesting layer to a villain. 

Susan Gonzalez, as Betty Meeks, is all Southern charm and hospitality, and is an absolute scream when she tries to connect with her foreign guest through what she calls "extra circular" perception.  What is interesting about her take on the role is that she really understands this woman's transformation from tired out widow ready to throw in the towel to feisty fight-for-what-you-believe-in Southern matriarch.  She give the role much more depth than is typical for this role.  Courtney Ryan, so amazing in Fat Pig earlier this season, is simply wonderful as Catherine Simms, a moody young woman, longing to get out of Hickville, USA and see what the world can offer a debutante past her prime.  The character is relatively complicated – angry, frustrated, burdened and needy of someone to listen – and Ms. Ryan plays each nuance with an ease and expertise that makes her Catherine entirely interesting and not a bit annoying.

This production also features not one but two outright star turns, one by the titular foreigner, Charlie Baker, underplayed with near comic genius by Steve Pospisil, the other by the somewhat dim rube Ellard Simms, played to hilarious perfection by Drew Gaver (frequently seen at Spotlighters).  Mr. Pospisil plays this role with such vim and vigor is almost exhausting to watch him, which is remarkable given that through much of the play he sits merely observing others or acting like he isn't listening.  Boy, is he one active observer, though!  And he really helps the audience steer through the generous amount of important details – when he perks up, we do, too.  Then, of course, there is the fact that much of the time he is speaking in a pretend language and in horribly broken English.  He is so good at it, you can understand everything he is saying!  Lastly, Mr. Pospisil has a real gift for physical comedy, shown in a lengthy segement where he is acting out a story from his "home country," and another time in an extended (and riotously funny) sequence where he and Mr. Gaver mirror each other in the tradition of the Marx brothers.  Timing is everything, and both of these gentlemen have that skill in excess. 

Drew Gaver imbues his Ellard with such life and sincerity; you can't help but root for the guy.  Gaver has the character down physically, with an interesting blend of childlike walking and klutziness, and some truly priceless facial expressions.  And his deep South accent manages to be both realistic and a funny parody all at once.  Watching his glee as he becomes more sure of himself is heart-warming, and watching his intensity as he works hard to "teach" the foreigner English is howlingly funny, especially his "read my lips gesture."  Too funny! 

It is indicative of the quality of this cast and its direction that when, in the final moments of the play things turn serious, that they are equally skilled at creating tension.  When bad boy Owen and his sheet-clad henchmen arrive for a final showdown, the tension was thick in the entire room.  And in the very final moments, their ability to lift the spirits of all involved was contagious.  The result was everyone got to leave with laughter in their hearts and light-handed lesson learned.  Not a bad way to spend a summer evening. 

PHOTOS: Courtesy of Cockpit-in-Court.  TOP:  Drew Gaver, Steve Pospisil and Susan Gonzalez.  BOTTOM: Row 1: Courtney Ryan and Susan Gonzalez; Row 2: Drew Gaver, Steve Pospisil, H. Ray Lawson, Joey Hellman and J.R. Lyston.

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