Review: THE FOREIGNER Reflects Open Hearts and Closed Minds at Carrollwood Players Theatre

I've been to movies where the audience interacts with the actors on screen, but never have I been to a play like that. Surprisingly, it wasn't disruptive. It almost felt natural. The patron interaction to "The Foreigner" was nearly as comical as the play. Director Miguel E. Rodriguez warned that (paraphrasing here) if we have half as much watching as he did directing, then we were about to have a fun night.

Fun night was an understatement. I laughed so hard my sides ached at the standing ovation.

The set is beautiful and (magical - I can't figure out how an actor disappeared down the cellar from the same place the actors walked across) set constructed by Eric Butterer, David Fraga, Jack Overton, Sasha Beers, and the cast and crew. Shirley Overton and Devany Green perfectly captures the look of a southern fishing lodge, while Barbara Trax worked her props magic to capture the feel and Deborah Lastinger designed the fashion authentic to the location. Even the lighting and sound creation by Jim Russell and David Fraga adds to the realness of the cozy lodge.

The storyline is Charlie is depressed over his wife's illness and his BFF Froggy takes him to a fishing lodge in Georgia to recharge. His not-so-nice wife has convinced him that he's boring and uninteresting, so Charlie's social anxiety is so high that he can't talk to people. Froggy uses this knowledge to claim Charlie is a foreigner who doesn't understand a lick of English. Now, imagine what you would hear if people thought you couldn't understand their language. You can only envision where this subterfuge leads or actually, truthfully, you can't.

This uniformly superb cast with impeccable comedic timing goes to a very dark place. Without revealing the dramatic turn of events, know sadly it is more relevant in today's climate than when it was written by Larry Shue over 30 years ago. It is easy to see why "The Foreigner" earned two Obie Awards and two Outer Critics Circle Awards as Best New American Play and Best Off-Broadway Production.

Now, let's talk about the seven actors that made this show the success it was.

Constantine Kyriakou plays officer "Froggy" LeSeuer to British perfection. Part straight man, part comedy relief, Constantine masterfully plays the Limey role with aplomb. Constantine is reminiscent of the former Blues Brother, John Belushi and I could easily see him on SNL. In the scene where he blew up a truck, I think everyone in the audience applauded.

It's hard to command a stage when you don't speak, but Zach "Hippie" Griswold is "remarkable." If he hadn't told me himself, I would never have believed it was his debut as a lead in a Carrollwood Players Mainstage production. Without saying a single word until much later, a simple wrinkle of the forehead, slump of the shoulders, tilt of the head - like a silent movie - through his expressive physicality, we feel Charlie's inner emotions - no words necessary. Later, when he is learning English and asked to tell a story in his native tongue, he reminds me of Taxi's Latka Gravas and the accent is hysterical. I'm not sure exactly what languages he is faking, but he is delightful, with hysterical ballet-ish dance steps and his crazy gibberish. Blahblahblahblahbigbangtheory totally worked. It was pleasure watching him develop his personality, evolving from meek and unconfident to the hero of the lodge.

Betty Meeks exudes sweetness and kindness in every word, even while swatting Ellard (Allan T. Anderson) with a dish towel. Betty loves having a foreigner visit her lodge because she pines for the exotic places she learns about from Froggy. She's hysterical yelling at Charlie because, well, apparently yelling at a person who can't comprehend what you're saying, you have to speak even louder. I've seen Ann K. Leman in several roles, but in this one, she is pure and simple, the heart of the production. She was meant to play Betty. The telephone scene with Hippie and Ann is a comedic gem.

Bo Smith was excited to play a character that you think is just a super nice guy but discover is the anthesis of nice. The soon-to-be-married-and-sharing-in-his-rich-wife's-money David Lee is a sinister minister. He's not the type of hateful that bares its teeth to your face, but the worse kind. He's someone you think you can like and trust and is a masterful manipulator. When David reveals his true intentions, Bo is frightening in his transformation from Jekyll to Hyde.

Elsie Michelle Mendez and Allan T. Anderson serve as polar opposite lodge resident siblings. Elsie's ex-debutante Catherine is not terribly amenable, but the cool exterior melts the closer she gets to Charlie during their daily walks together and by the end, I was rooting for her to get together with Charlie. Allan's Ellard, with the 'addled brain" and constant wringing of the hands, always getting in trouble for things he's not doing, makes me just want to hug him and tell David to leave him alone. Executed with comedic precision, Allanl's mirroring scene with Hippie, in which Charlie pretends to follow Ellard's example in eating breakfast, brought to mind Groucho and Harpo and is so much fun to watch.

Finally, Owen Musser. Michael C de Baca played Owen with such terrible authenticity I actually asked the actor to speak in the greeting line so I could separate him from the role. His portrayal of the backwoods racist, xenophobe POS complete with a piece of straw dangling from his lip is so real, when he said something along the lines of "I like it hot," the audience audibly reacted with "eww."

So, Miguel, Constantine, Hippie, Ann, Bo, Elsie, Michael and Allan, to repeat the first words that Charlie uttered - 'Thank you' and to Carrollwood Players for being brave enough, in this volatile climate, to put this show on. Run, don't walk to see this production - a true reflection of the ongoing societal battle between a closed-mind and an open-heart.

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