GCT Welcomes Kaufman and Hart's Man Who Came to Dinner

The Man Who Came to Dinner/by George S. Kaufman and Moss Hart/directed by Heather Lowe/GCT (Glendale Centre Theatre)/through May 11

Kaufman and Hart's satire on the bizarre world of internationally famous critic Alexander Woollcott, here called SheriDan Whiteside (Andrew Prine), when his egocentric life collides with the day to day humdrum lives of the Stanley family of Mesalia, Ohio in 1939 is rarely produced due to its large cast of wildly divergent characters and dated humor. Funny it is, exceedingly funny, but only to those who understand the references to the events and people of the 30s. Now, in a finely staged production at GCT, The Man Who Came to Dinner, like the playwrights' other smash hit You Can't Take It With You, shows just how dull life would be without flagrant eccentricity and staunch individuality.

For those who have forgotten the basic plot, famous critic SheriDan Whiteside makes a stop in Ohio as part of his whirlwind lecture tour, only to slip and fall on the steps of the Stanley family residence. He is forced to spend several weeks of recuperation for a sprained ankle on the premises, reeking havoc and mischief within the lives of everyone with whom he comes in contact. It is a thrill at first for the family to be playing host to him, but once he announces that he is suing them and they are compelled to pay for his outrageous international phone calls... and put up with his atypical behavior like inviting dangerous convicts to a luncheon in their dining room or keeping live penguins sent to him as a gift, the pleasure wears thin. In spite of his egomaniacal actions, Whiteside does possess a magnanimous heart and manages to affect positive changes - at least he tries - in the dreams and desires of the Stanley children, who want to break away form their tyrannical father and lead more exciting lives. When he toys with Maggie's happiness (Brenda Dietlein), it does show selfishness but something that everyone is prone to when faced with losing someone they hold dear. These elements of Kaufman and Hart's writing, as in You Can't Take It With You, where the audience are encouraged to take a look at the other side of the coin, the crazier yet glamorous, appealing side of life and to honestly evaluate their own accomplishments, give the otherwise fluffy play some endearingly rich content.

Andrew Prine is a respected, consummate actor who would not be thought of as a logical choice to play Whiteside. Used to essaying more heavily dramatic roles that do not require comedic eccentricity, Prine does indeed have Whiteside's acerbic wit, and succeeds in putting his own stylish stamp on the character. He does need to pick up his energy, though, especially in his scenes with Maggie, which tend to lag particularly in Act I. Befitting a fine actor, Prine is surrounded by a terrific supporting cast. Dietlein underplays Maggie, Whiteside's secretary, but it works well, as she is the complete opposite in nature to flamboyant actress, diva Lorraine Sheldon, divinely played by Alison Robertson. Mark Christopher Tracy is a stitch as Banjo, and Clement Von Franckenstein makes Beverly Carlton deliciously suave and cunning. Kaufman and Hart, by the way, penned Banjo after Harpo Marx and Carlton after Noel Coward. Handsome Blake Boyd plays straight arrow journalist Burt Jefferson with a nice mix of light comedy which shows up in his inebriated scene Christmas morning. Kate Landro is a hoot as Miss Preen, the nurse whipped into shape by Whiteside's rude behavior toward her, and Osa Danam is a delight as Harriet Stanley, the daffy sister whose identity remains mysterious until the very end. Completing the large ensemble are excellent Mario Digregorio as Dr. Bradley, Amanda Carter and Hisato Masuyama as servants Sarah and John - their lightening speed movements throughout are perfection - Joanna Jackman as June and Tyler Derench as Richard, the unhappy Stanley children, and Rebecca Balding and Kyle Kelley as the put upon Stanleys. Jeremy Leochner and Nick Mizrahi complete the big cast in a variety of smaller roles.

The Man Who Came to Dinner provides great enjoyable madcap fun for middle-aged folk and oldsters who will take pleasure in the funny business of golden days gone by. GCT has again succeeded in carrying off a classic.

(photo credit: Jim Spada)