Review: PLAZA SUITE at Little Theatre Of Mechanicsburg

The Little Theatre of Mechanicsburg sits plainly on the side of a small road in Mechanicsburg, Pennsylvania, unassuming to all those who pass by. It does not flaunt itself on flashing advertisements or a grandiose outward facade, and this in fact adds to the effortless charm that meets a theatre-goer as soon as they step through the door. But while the stage itself may be lacking in size, the performances presented there compensate for space with an abundance of talent. While the reviewer has only been privilege to one show at this establishment thus far, she is glad that she was treated to the vastly entertaining humor of PLAZA SUITE by Neil Simon.

This slice-of-life comedy first opened on Broadway at the Plymouth Theatre in 1968 and was directed by Mike Nichols, who then received a Tony Award for his efforts. PLAZA SUITE was also nominated in the same year for Best Play, but the title instead went to ROSENCRANTZ AND GUILDENSTERN ARE DEAD. However, the success of the show later warranted a film adaptation in 1971 which starred Walter Matthau and Lee Grant, among others. The show is presented in three acts, each of them centering around three different sets of characters but all taking place in Suite 719 of the Plaza Hotel in New York City. Little Theatre of Mechanicsburg created a Suite 719 that was simple and functional but also displayed a touch of elegance with the addition of drapes, ornate mirrors and picture frames, and vases of vibrant flowers. They also set the mood of the show from the very beginning by playing musical tracks that felt very reminiscent of The Big Apple in the 1960s. Having gotten their audience in the right frame of mind, the cast of PLAZA SUITE was then in the perfect position to bring on the laughs.

The first act of the show features the tired marriage of Sam and Karen Nash, played by Ron Nason and Randi Johnson respectively. Each of their characters were clearly defined from the very start of the scene; Karen Nash is witty and charming, and Johnson's ability to create a character who is filled with both cleverness and care makes her interactions with her husband Sam very amusing to watch. Nason's Mr. Nash is a direct juxtaposition of Karen, with a rushed and hurried attitude that marks him clearly as "all-business." Together, they craft a couple who have been married for 23 years, and were staying in the Plaza Hotel while their house was being painted. Karen has added a bit of a romantic touch to the occasion by booking their stay in 719, the room that she insists the two had been spent their honeymoon in. However, as with many married couples, their relationship hinges on the fine details, and Johnson and Nason thrive on this orientation.

Their arguments are fluid and realistic, ebbing and flowing as though listening to a middle-aged couple in one's own family. The familiarity of their fights, of a wife who is devoted and thoughtful and yet clearly annoyed with her overworked, frustrated husband make their scene together very enjoyable as an audience member. This is facilitaTed Further by Johnson's stand-out portrayal of a Mrs. Nash that still embodies a youthful spirit, a bit of a spit-fire who isn't a stranger to sarcasm. Her witty remarks and biting retorts amused the audience to no end. However, a testament to her talent, Johnson also employs the qualities of a talkative mother, especially during the instance in which she happily tells the hotel waiter (John Jacobs) all about her marriage, much to the chagrin of Sam. Her steadfast optimism and acceptance of the many hardships of life make her later worries and outbursts all the more satisfying.

Nason brings to the scene a husband who is often confined to the dull routine of office life, bringing his work home and consequently distancing himself from his wife. This distance is shown in the way he frequently exclaims that he "will never understand" Karen, although he still clearly cares for her as much as she does for him. However, it is evident that he is tired, and that something else is lingering on his mind that is later revealed in a rare, serious moment. Their characters display a full range of complex emotions throughout their scene while also being unafraid to pepper in moments of humor. Johnson and Nason work very well together, and Johnson in particular seems to consistently shine.

Act Two of PLAZA SUITE changes its tone to now focus on swaggering Hollywood producer Jessie Kiplinger, who has checked into Suite 719 in hopes of being reunited and spending a bit of "quality time" with his old high school flame, now suburban mother Muriel Tate. Kiplinger and Tate are portrayed by Mike Rogusky and Dawn-Michelle Lewis, and both deliver outstanding performances. Rogusky's Kiplinger holds his head high from the very first line, and practically radiates self esteem. He knows what he is after, and knows exactly how he is going to go about getting it. Opposite him is Lewis as Muriel, an obviously flustered and anxious woman who, as the scene goes on, reveals many things about herself through a hilarious combination of nerves and excitement. Her character has come to see Jessie after seventeen years of separation, during which time she has kept very close tabs on her old boyfriend and seems to know everything about his glitzy life.

Lewis's comedic timing and facial expression seals the deal in terms of delivering a successful performance; her perfect blend of wide-eyed obsession with all things Hollywood and obliviousness to Jessie's attempts at flattery make her a delight to watch. Muriel's internal conflict of whether the notion of cheating on her husband and ruining her reputation outweighs the idea of becoming close with a Hollywood producer drives the scene forward as she constantly changes her mind. Watching Rogusky's Kiplinger slowly begin to catch on to Muriel's true nature only adds to the humor of the situation. The twisted chemistry between them is fraught with a wonderful misunderstanding, as Muriel is smitten with the idea of personally knowing a celebrity while Jessie only wants to pleasure himself. Jessie's change of tactics flowed very smoothly as well, as he realizes that showering Muriel with compliments will fall on deaf ears, since she only cares about whether he has met Frank Sinatra's wife. Rogusky employed a sense of charm and sophistication in his Jessie while effortlessly able to channel the classic trope of "successful young genius living a secret, tortured life" that Jessie intends to use to win Muriel over. These two unique and wonderfully messy characters are brought to life in a scene that keeps the audience laughing, and sets them up perfectly for the grand finale of PLAZA SUITE.

The third act of the show is often described as the most "slapstick"-esque of them all, and this rendition most definitely lived up to the expectation. This scene introduces Norma Hubley as portrayed by Anne Einhorn, a frantic mother in a state of intense panic as her daughter refuses to come out of the bathroom on her wedding day. Einhorn's purposeful use of melodrama and hysterics is incredibly entertaining on its own, but increases in hilarity when matched with the flaring temper of her husband, Roy Hubley. Roy is played but Einhorn's real life husband Gordon Einhorn, and this pairing was undoubtedly a recipe for success. Their chemistry together, admittedly in a strange situation, is all the more realistic as a result of the two being an actual couple.

Their arguments and frustrations were exactly what one would expect from concerned parents on their daughter's wedding day, and their different brands of anger--fussy and particular versus pronounced and fiery--compliment each other very well. Norma was a perfect nervous wreck, weepy and obnoxious while Roy was all threats and deafening shouts. Much like the first act, their fights work in harmony, one spurring on the other in an entertaining blend of two different personalities. Mr. Einhorn's Roy is flustered to the core, not to mention showing off just the right amount frugality that make his character even more the classic father figure.

Mrs. Einhorn's Norma is rembrandt of a typical television sitcom wife, who lives for social engagements and is prone to wailing dramatics, but is also a woman who has dedicated her life to her children and wants nothing more than to know that she has succeeded in raising them. While her character is consistent throughout the scene, Roy's transition from using overpowering anger to simple compassion to speak to his daughter is one of the best moments of the show, and truly showcases Mr. Einhorn's talent, one equal to that of his wife.

PLAZA SUITE at Little Theatre of Mechanicsburg is a treat for those looking for a charming comedy to suit various types of humor. It proudly shows off a host of talent, with actors that truly understand both subtle timing and outrageous gags. While it has its slower moments, it is a show that is vastly entertaining and exists thanks to a fantastic cast each with a unique character. Check into PLAZA SUITE for an evening of comedy sure to please even the most picky of guests.

Presented by Little Theatre of Mechanicsburg through January 29th. Visit ltmonline.net.

Photo Credit: Lexi Lynn Photography

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