BWW Reviews: ANT(aeu)S Rule an Appetizing PICNIC (with Tasty Stuffed Peppers) & Delicious Characters
By: Gil Kaan Jun. 26, 2015
Picnic/by William Inge/directed by Cameron Watson/Antaeus Theater/thru August 16, 2015
William Inge's 1953 Pulitzer Prize winner Picnic certainly holds up quite well in Antaeus Theatre Company's expert and streamlined production. Cameron Watson directs his talented cast without any extraneous beats, moments, or gestures. Every little detail quite essential and integral to Inge's tale of a drifter's affect on a bunch of traditional Kansas folks back in 1952.
Entering the Antaeus theatre, Robert Selander's 1952 Kansas backyard set impresses with its meticulous, aged wood planked fence, tree stumps, weathered porch and cottage facades in all their lived-in untidyness. Jeff Gardner's synchronized sound effects effectively set the proper moods either with the train toots, the cars engines revving up or off, or the early morning crickets.
Seems Helen Potts has a habit of taking in young struggling strangers that annoy her neighbor Flo Owens, a now-single mother raising two teenage daughters, a smart one Millie and a pretty one Madge. The current lost boy Hal happens to be a former fraternity brother of Alan, the well-to-do, respectable businessman Flo wants Madge to marry.
Inge's script seems timeless as ever with conservative morals certainly still in the same state of stasis. The introduction of a bad boy into a straight-laced community always makes for good conflict.
In Antaeus tradition of double casting; one set of actors comprise the "Stuffed Peppers" cast, another set the "Deviled Eggs," and a combination from both form "Pork Chops." This wonderful cast being reviewed: Stuffed Peppers.
As the "always seeing the best of everyone" Helen Potts, Kitty Swink slyly gets in some of the cheekiest lines of Inge. Almost everything out of Swink's mouth results in a double entendre utterance. Nice!
Connor Kelly-Eiding readily embodies her tomboy Millie with all the naivety of a young girl yet to be kissed. Her delightfully clumsy, awkward dance (choreographed by Jean Michelle Sayeg) in anticipation for her very first date totally charms and captivates. Millie's hurt and jealous, as communicated by Kelly-Eiding, tugs heart-strings.
Eve Gordon rules as Flo, the matriarch of the household. Gordon reveals so much more hidden layers of Flo's past personal experiences than even she seems to realize. Flo's main concern, getting Madge married well, defines all her actions, almost to the extent of slighting Millie's needs.
Jordan Monaghan's so perfectly lovely as the lovely Madge torn between the guy she's believes she should marry and the intruder from literally the other side of the tracks.
Ross Philips finely essays Alan as the clean-cut, responsible husband material that Flo so wants for Madge.
Daniel Bess nails Hal's swagger and bravado as the always bragging ladies' man/failed actor. Very convincing 'bro-ness' between Bess and Philips as they tease, taunt and fight as long lost fraternity bros.
Distinct difference in the relationships between Madge with Alan and Madge with Hal. Madge shows an inquisitive, innocent attraction for Alan. But when Hal seduces Madge, Monaghan and Bess sizzle on stage. Wow!
Renting a room in the house, teacher spinster Rosemary has high hopes of being married to store owner Howard. Gigi Bermingham deliciously inhabits Rosemary through her haughtiness, her drunkenness, her desperateness and her euphoria. John DeMita's solid as the clueless, upstanding, upfront everyman Howard.
Grabbing their moments in their lesser times onstage: Ben Horwitz energizes as Bomber, the newspaper boy with a lust for Madge; and Tamara Krinsky and Maureen Lee Lenker both tickle as Rosemary's fellow teachers.
Kudos also to Jared A. Sayeg's lighting design which efficiently telegraph the passage of day to night to day; and to Terri A. Lewis for her spot-on 50's costume dresses and men's fineries.
Ant(aeu)s' welcome to take charge of all of my future picnics!
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