THE ADDAMS FAMILY – GOOD MOVIE WHICH JUST FALLS – LONG – OF BEING AN EXCELLENT ONE

SHORT TAKE:

Charming animated movie based on the Addams Family characters, created decades ago by Charles Addams, but honestly, with not enough plot for a full length feature.

WHO SHOULD GO:

Anyone who is interested. No sex, there is ghoulishness but nothing really scary (except for perhaps the very young), cartoon (obviously) violence, no bad language, but could be a bit slow for any of the youngish set used to the quick and flashy.

LONG TAKE:

The story, for anyone not familiar with this quirky bunch, is about a tight knit loving family who do not quite fit the standard mold. (Though some of them may be a bit — moldy.) Resembling nothing so much as a band of ghouls, vampires and assorted monsters, they frighten the neighbors wherever they go. In truth they just wish to be left (to rest) in peace to raise their children and live (or be dead) without bothering anyone else. Unfortunately, a developer buys the land around their home and a neighborhood eventually grows up around them. And not your ordinary neighborhood but a carefully planned and controlled one which sees the Addams as a threat to their desire for plastic conformity.

While this is a promising premise, alas The Addams Family animated feature falls not short of being a classic but too long. They had all the ingredients of a five star triumph: engaging memorable characters, excellent voice acting from grade A actors, excellent though stylized animation, and even a built-in multi-generational cult audience.

Unfortunately, what they did not have was a plot that could sustain a feature-length film.

When the kids were little we all picked a theme song. I won’t tell you what anyone else’s was but I will tell you that they ranged from Broadway to rock and roll and mine was the theme song from the TV show The Addams Family. “They’re creepy and they’re kooky, mysterious and spooky, they’re altogether ooky … ” Okay, well it wasn’t Shakespeare but what it WAS was confident, eccentric and whimsical. While others saw them as odd and scary, I saw a warm loving and wholesome (in their own way) family. Gomez and Morticia were very much in love even after many, possibly hundreds, of years of marriage. The kids were homeschooled, they lived with extended family – Gomez’s brother, Fester, and Morticia’s “grandmama”. They took good care of their pets – well, OK a lion named “Kitty” and a tall man eating Venus fly trap named Cleopatra. Gomez was an extremely successful, kind and philanthropic businessman who kept an open pocketbook to anyone in need. They adored their children, spent all their time together as a family, were welcoming to everyone, including the neighbors who occasionally ran from the bemused but well meaning family in terror. They never forced themselves on anyone but were  happily content to quietly go about their own business. Yet they were looked at askance just because they chose to do things a little — differently.

In short they reminded me of — us.

As a kid I enjoyed The Addams Family for its unusual humor and adorable characters. Later in life I had a much deeper appreciation for their situation. A LOOONG time ago when the kids were little, homeschooling was a very peculiar affectation to many people. The two most common questions we got were: “Homeschool – where is that?” and “Is that legal?” Many thought we were crazy. Even some of our friends would distance themselves when the subject of educating children came up. And our families were convinced we would tire of this “cultish” idea. 30 years later we had graduated all 6 out of high school and into college and careers. And retrospectively I recognized – we WERE The Addams Family to a lot of people.

So they hold a special place in my heart.

The source material is from a single panel comic by Charles Addams that featured regularly in The New Yorker. It specialized in dark and macabre humor: Morticia discarding the blooms of flowers to keep the stems. The children chopping the heads off of dolls with a child sized guillotine. The 1960’s TV show with John Astin (the adopted father of Sean Astin aka Samwise Gamgee) as Gomez and Carolyn Jones as Morticia, kept the dark comedy, but converted it into a cockeyed Leave it to Beaver sitcom. The movies, with Raul Julia taking over for Astin, and Angelica Houston for Jones, echoed their predecessors with devoted enthusiasm and ramped up the outlandishness of the family’s eccentricities. I thoroughly loved all of it.

This animated movie wisely pulls from all three. The voice acting is perfect and evokes the — uh — spirit of all the unique personalities: Gomez harkens back not to the good looks of the human leads but portrays Gomez as the short squat little pin-stripped ghoul he was originally drawn to be. The acting talents of Oscar Isaacs (Star Wars, Operation Finale) and Charlize Theron (Atomic Blonde, Tully, Mad Max: Fury Road) instill Gomez and Morticia with all the lively personality of their live action predecessors. And while Chloe Grace Moretz (Dark Shadows, Carrie) as Wednesday is much like Christina Ricci’s stone faced version from the live action movies instead of the sweet faced Wednesday from the TV show, Nick Kroll (Operation Finale) does a spitty mouthed Uncle Fester which is far closer to Jackie Coogan’s version in the TV show  than Chris Lloyd’s feature film Fester. Finn Wolfhard (Stranger Things and It – that kid better watch it as he’s well on the way to being type cast) did a lovely job as the voice of the good natured but “explosively” enthusiastic Pugsley. Bette Midler (singer extraordinary and actress from The Rose) does a surprise “appearance” as the voice of Grandmama. SCTV veterans Martin Short (Inner Space) and Catherine O’Hara (Ode to Joy – see my post HERE) perform an adorable cameos as visiting deceased spirits who give Morticia advice. I think all the choices made by the animators and actors worked together beautifully – cherry picking the elements which work best in this medium and blending them together like the tints in a fine painting.

The music uses both modern and iconic, employing the likes of R.E.M.’s “Everybody Hurts” as well as the familiar theme song from the TV show. Of particular note is the BRILLIANTLY inspired end credit sequence wherein the animated characters repeat precisely the scenes shown at the beginning of the TV show: Morticia and Gomez’ sword practice, Lurch at the organ, Fester’s smudged post-explosion face – in a loving homage to the wonderful 1960’s super quirky sitcom.

Unfortunately, unlike the live action movies, there is just not enough for these wonderful characters to do. Events — occur — and there is a theme of conformity versus independence, but it is more Road Runner booms and sight gags than storyline. There’s lots of quick one-liners and don’t-blink-or-you’ll-miss-them clever sight gags, but it just doesn’t all quite gel into a whole idea worthy of its 87 minute run time.

The “villain”, Margaux Needler, ultra-micromanager real estate mogul and TV show host, who will stop at nothing to get her “perfect” development off the ground, is a carbon copy of the perfectionist and micromanager homeowner association chairwoman Gladys Sharp, whose personality is lifted right off the storyboards for Over the Hedge. Both characters are even voiced by the same actress, Allison Janney.

It’s not that The Addams Family is bad, but it treads no knew ground and drags. With the content available here this would have been far more successful as a quick paced 20 minute short.

However, I think with the talent at hand and the rich potentials for the premise they could do SO much better and I look forward to a sequel if the writers would just put a bit more effort into the script.

But for all the flaws, I was delighted to see my favorite eccentric family on the big screen again.

CLUE – FROM BOARD GAME TO MOVIE TO STAGE – PLAYING THIS MONTH AT ACTS THEATRE

SHORT TAKE:

Mostly family friendly spoof on murder mysteries, based on the board game of the same name and translated from the eponymous movie, Clue, playing at ACTS Theatre for the next three weekends – October 11 – October 27, 2019 – get your tickets HERE.

WHO SHOULD GO:

Everyone. Aside from a little bit of mild profanity and some very light jabs at religion and alternative lifestyles, this is a family friendly show. There’s no sexual activity, no real violence and the murders are part of the buffoonery and played for healthy laughs. Older people will get the jokes and kids will enjoy the slapstick.

LONG TAKE:

In 1945 Anthony Pratt invented a family past time based upon the idea of a murder mystery. He called it Cluedo but we all know it as Clue. In the 1980’s John Landis (director of Trading Places, Oscar and National Lampoon’s Animal House) became possessed with the idea of making Clue into a film. Despite being star studded and wielding a $15 million budget it flopped hard at the box office but has since become a cult sensation boasting of: a novelization, its own fan club, Youtubes coming to its defense, an off-Broadway musical, a campaign to remake it with Ryan Reynolds in the lead, and a live theatrical version.

Landis’ Clue was the first of its kind, a movie made from a board game. It starred some of the most talented comedians of the time: Tim Curry, (who lists this along with Muppet Treasure Island as two of his own favorite movies in which he was cast), Madeline Kahn (Blazing Saddles, Young Frankenstein) whose now classic dry description of how much she hated one of the other characters “flames on the side of my face” left fellow cast mates struggling to maintain their professional composure during the scene and was the only ad lib allowed to stay in the tightly disciplined and rehearsed shooting schedule, Martin Mull (FM, Jingle all the Way and guest spots on a zillion TV shows), Christopher Lloyd (Back to the Future, and the classic TV show Taxi), Eileen Brennan (FM, The Sting, and another parody murder comedy Murder by Death), Leslie Ann Warren (Rodgers & Hammerstein’s Cinderella, Victor/Victoria), and Michael McKean (Laverne and Shirley).

I mention all this to point out what big shoes the cast and crew for ACTS latest production of the theatrical Clue have to fill, and fill them they do.

The story concerns a group of strangers who gather at the summons of a mysterious stranger, aptly named Mr. Boddy, (no that is not a misspelling) to a spooky and isolated house on a stormy night for an evening of revelations. The guests get more than they bargained for. With characters named and colorfully costumed in keeping with the pieces in the Clue game, in a house laid out like the original Hasbro product, it becomes immediately apparent that there will be far more vaudeville than violence and more mugging than mayhem. Pratfalls and slapstick laughs are the coinage of the evening as fun is poked at the genre which has long been home to the likes of the far more austere Agatha Christie and Sherlock Holmes.

Stepping up to the plate for the inimitable Mr. Landis to direct is our own Clay Hebert, veteran of decades of productions all over Lake Charles from McNeese to ACTS to Lake Charles Little Theater and even Hollywood, for whom this play has been a two year dream project.

Clever use is made of the stage in which quick changes and even quicker stage hands move props on and off to represent the many rooms of the house and in the board game: hall, library, study, etc.

Wadsworth, the butler and audience liason, is played by Aaron Webster ( just having finished a similarly sinister role in Arsenic and Old Lace for ACTS). Mrs. White is Kelly Rowland (also from Arsenic) who can’t seem to resist roles of sweetly homicidal ladies. Dylan Conley is Colonel Mustard. Miss Scarlet is played by Taylor Novak-Tyler (Steel Magnolias and Dirty Rotten Scoundrels).  Robert Goodson (Dirty Rotten Scoundrels, Spamalot) lends his unique brand of physical comedy to liven up Mr. Green. Stacy Solak (recently in Bye Bye Birdie) is a scene stealing Mrs. Peacock, and does double duty as aide-de-camp to Clay in the offstage role of assistant director. Zac Hammons (Dirty Rotten Scoundrels) is Professor Plum. Yvette, the maid – not a board game piece but a character from the movie – is played by Kaylen Peters. Similar to the way the Swiss Army Knife of performers who portrayed a multiplicity of characters was used in The 39 Steps, Lauren Manuel and Lewis Paxton fill in variously for: Mr. Boddy, the Cook, the Motorist, the Singing Telegram Girl, and Police Officers.

Lending their respective wifely supports as well as extraordinary talents  to this production in general and Aaron Webster and Clay Hebert in particular are Kris Webster and Markie Hebert who functioned as co-producers.

A brave Catheryn Fredericks helps wrangle this motley crew of comedians together as the stage manager.

MILD SPOILER

Sorry movie fans –      – there is only one ending.

So go join this humorously homicidal troupe as they give it their all to give you a ….. Clue.

TICKETS HERE.

BEYOND HERE BE POSSIBLE SPOILERS SO CONTINUE AT YOUR OWN RISK — OH WAIT THAT’S DIFFERENT BOARD GAME……

DESTINATION WEDDING – ODD ROM COM THAT WORKS AGAINST EXPECTATION

SHORT TAKE:

Unusual tale of how two unpleasant people create a positive relationship through a series of conversations at a weekend destination wedding.

WHO SHOULD GO:

Absolutely only adults and preferably married ones at that for: profanity, casual blasphemy and an explicit, albeit genuinely funny and fully clothed, scene of realistically portrayed sexual intimacy.

LONG TAKE:

A love story with a twist. To my knowledge this phrase was coined by my friend Franklin. He claims it an apt description to ANY movie. That may be so, but Destination Wedding really is one.

While the movie doesn’t exactly turn the standard for the rom-com on its head it does view it obliquely. Destination Wedding certainly follows the formula: somewhat unlikely couple meet, after a few coincidental further encounters they find they have common interests, fall in love, run into obstacles to the relationship, etcetera. What’s different about Destination Wedding is both the structure of the movie and the characters.

Written and directed by Victor Levin, (who penned 29 episodes of the adorable rom-sitcom Mad About You),  the movie would transit to the stage with ease. Much like a mobile My Dinner with Andre, the leads are the only people who have dialogue. While My Dinner with Andre took place almost exclusively at a dinner table in a restaurant, Destination Wedding wanders all over different events’ settings: an airport, an airplane, the rehearsal dinner at a restaurant, the outdoor wedding, hotel rooms, etc. But the settings are barely noticed. The entire focus of the film is on the conversations between these two unlikely lovers, Lindsey and Frank.

You know the romance involved will be a bit different  when it begins with the subtitle: “A narcissist can’t die because then the entire world would end.”

Frank is played by Keanu Reeves, the titular action movie hero from John Wick. Lindsey is played by Winona Ryder, most famously and recently as the frenetic mother, Joyce, desperately trying to protect her family from Stranger Things.  Although there is no violence or supernatural killers in Destination Wedding, looking at the pictures from the lead actors’ current most notable respective roles one can see why there is a natural chemistry between the actors.

Reeves here contributes to his too small stock of comedies. Reeves deadpan delivery is perfect for the emotionally distressed and extremely subdued Frank,  who comes from a family which is extravagantly dysfunctional, and includes his half-brother, the groom. Cynically, Frank’s opinion of romance is summed up in his response to whether he believes there is someone for everyone. Frank retorts, “Close. I believe that there is nobody for anyone.” Lindsey, on the other hand, has a stable family background, but her problem is that she is still in love with the groom, and expresses her bitterness and frustration in self-absorption and constant critiques of others.

I once heard Dr. Laura Schlessinger describe her philosophy of a healthy relationship as finding someone whose quirks you don’t mind who doesn’t mind yours. Lindsey and Frank certainly have the quirks. The story examines whether their quirks will mesh comfortably or grind each other to pieces. Like two oddly shaped puzzle pieces, the two rub each other the wrong way from their first casual conversation. But as they are both depressed outliers at this matrimonial celebration who find mutuality in hating the groom, avoiding the relatives and thinking the bride has “all the sense God gave a toaster,” they repeatedly end up ignored and forgotten by the wedding party at the different events – together.

Extreme dislike, like love, is a strong emotion which can be flipped on its head and the audience is entertained by watching for how, when and if Lindsey and Frank will catch up with the idea that they are in some bizarre way made for each other.

Their major winning personality trait is their honesty about themselves and others which they employ to strip each other bear emotionally and psychologically. But like Eustace in Voyage of the Dawn Treader both are in desperate need of this personality scrubbing of the emotional dragon scales with which they have armored themselves, and to which scrubbing, to their credits, they reluctantly but patiently submit.

The acting is quiet and amusing. You would not think listening to these two dissect the wedding party and each other for 87 minutes would be fun, but it was. These two weirdly mismatched people slowly grow on the audience and each other. And we can not help but wonder what will next be revealed as each layer is removed and healthier more vulnerable parts of their souls begin to emerge. This is the fourth movie for Ryder and Reeves to do together, and their chemistry is light-hearted, easy and evident.

The cinematography is simple and straight on as though you WERE watching a play, with the beautiful setting of San Luis Obispo California, wine country, as merely a frame to this clever little romantic snapshot. It was shot in 10 days with no close-ups and few if any retakes.

Along with the casting of these two who have been friends since the 1980’s, there are a couple of other in-“jokes” as well. Lindsey suggests they play “Devil’s Advocate” in a discussion of their future as a couple, an offhand allusion to the movie The Devil’s Advocate in which Keanu Reeves starred. Frank alludes to his father’s new girlfriend as, “Being a senior while he [the father]was a freshman,” which is pointedly similar to a quote by Reeves’ character’s best friend, in Bill and Ted’s Excellent Adventure, when Ted refers to Reeves’ character Bill’s very young stepmom.

Also, as an interesting side trivia, like their characters, though having been in serious relationships before, neither of the actors have ever been married. In addition, there’s a running cinema legend that the two actors have actually been married to each other for 25 years, having appeared in Francis Ford Coppola’s Dracula during which a real Romanian priest was engaged for the wedding ceremony of their characters.

This is a movie for adults only, for language, conversation subject content, and a graphic scene of sexual activity. Although no skin is ever seen the clothed behavior is vivid and explicit although genuinely funny in its very artlessness.

So if you are an adult in the mood for an individually peculiar, romantic comedy of two broken people searching for their complementary parts, you could do worse than follow Lindsay and Frank as they literally and figuratively go off the beaten track to find their awkward match.

And — welcome back to your rightful home in comedy Mr. Reeves!

AD ASTRA – A VERY DIFFERENT KIND OF SCI FI

SHORT TAKE:

Journey by a son in search of his father, set in space.

WHO SHOULD GO:

Older teens minimum for some language but mostly scenes of violence and the resulting dangers one might expect in tackling hard space. There is no sexual content.

LONG TAKE:

Ad Astra (meaning “to the stars”) directed by James Gray, one of the writers, is a very interesting movie but not about what you might think. Ad Astra could have taken place as a western, underwater, in a haunted abandoned funhouse, a post-apocalyptic wasteland, in any normal day of a big city, or climbing a mountain. The writers James Gray and Ethan Gross chose to place this well told story in space and it is as good a backdrop as any of the others would have been. Combining allegory with pragmatic and brutal realism, Ad Astra plays out more like the Greek epic of discovery, The Odyssey or the Christian parable Pilgrim’s Progress, than a conventional science fiction story. Gray, writer/director, himself has compared his story to Conrad’s Heart of Darkness.

SPOILERS – BUT MINOR AND OBLIQUELY AS I CAN

The story is about Roy McBride, a top-flight astronaut, played by Brad Pitt (most recently in the wonderful role of a protective stuntman in Once Upon a Time in Hollywood), whose father, Clifford, disappeared 16 years before. Roy’s father played by Tommy Lee Jones (Men in Black, The Fugitive, Captain America) is a brilliant scientist who went in search of evidence of extraterrestrial intelligence, then fell off the radar after leaving Saturn.

A series of catastrophic electronic storms have recently begun to devastate Earth. The Surges, as they are referred to, seem to be emanating from Neptune, and are suspected to be linked to Clifford’s disappearance. Roy is sent out to investigate with his father’s old partner, Thomas Pruitt, played by acting veteran Donald Sutherland.

As an aside, I am a big fan of Donald Sutherland. Sutherland’s career dates back almost six decades. Playing opposite the likes of Robert Duvall, Helen Mirren, Orson Welles, Gene Wilder, and Julie Christie, his career includes an incredibly eclectic collection of almost two hundred entries, ranging from comic to horror to personal drama. His resume includes everything from classics like Hamlet and Pride and Prejudice, to monster movies like the bad  Dr. Terror’s House of Horrors and the brilliant Invasion of the Body Snatchers, military black comedies like M.A.S.H. and Kelly’s Heroes, deeply emotional personal dramas like Ordinary People, the modern dystopian franchise The Hunger Games, screwball comedies like Start The Revolution Without Me, straight war movies like The Dirty Dozen and Eye of The Needle, and avant garde suspense like Don’t Look Now – the list goes on and on, and it was a pleasure to see him again even in a small character part.

Rounding out the cast is Ruth Negga (the prickly – in more ways than one – antagonist in Agents of S.H.I.E.L.D.) as Helen Santos, an ally who appears, like a messenger from a Greek myth, to provide Roy information he needs to urge him along his quest. Another character who hands Roy along like a baton is Colonel Levant played by Sean Blakemore. Liv Tyler (Lord of the Rings, Armageddon – so not Tyler’s first rodeo as a character enamored of a space cowboy) is Eve (to Roy’s Adam? – perhaps representing all mankind and their errors) the girl Roy leaves behind as Roy seems compelled as a lemming, without his father’s guidance, to repeat his father’s mistakes.

However, Ad Astra is not really about the search for Roy’s father, but ultimately an insightful, honest and frank inner journey undertaken by Roy to conquer the demons left behind by Clifford’s abandonment of Roy’s family.

Modern culture tries to expunge the need for a father in the home. Ad Astra highlights, at least in part, the fallacy of this destructive philosophy.

The tone of the film reminds me of, and owes a lot to, Stanley Kubrick’s groundbreaking but ethereally distant 2001: A Space Odyssey, which created a mythology about mankind’s leaps of progress. In contrast, Ad Astra is relatable, in that it is told from the intimate point of view of one man’s personal evolution. The pace of Ad Astra is very slow and deliberate, arguably even sometimes dull. But such adagio of movement is necessary for the contemplatively atmosphere necessary for this pensive tale.

The events that transpire during the course of the film are anything but boring. The theme of obstacles structure the story and manifest in every way you can imagine: verbal, bureaucratic, intentionally hostile, the indifference of nature, clandestine, emotional, instinctive brutality, and the simple fact of the mind-numbingly immense distances required to complete Roy’s journey.

The cinematography is magnificent. The depiction of the outer planets is stunning and awe-inspiring and brilliantly conveys the overwhelming majestic size of space itself, underscoring the enormity of the pilgrimage that Roy undertakes.

And pilgrimage Roy’s trip truly is. A pilgrimage of discovery. The pilgrim nature of Roy’s quest is underscored by the occasional but respectful and deliberate references to traditional Christian theology and belief. The spiritual nature of Roy’s expedition is also demonstrated by the way the writers strip Roy, piece by piece, of his armor plating – literally and figuratively, physically and emotionally – until he must confront his destiny as any questing knight must – face to face and alone. Roy’s progress is cleverly documented by way of periodic psychological tests he must take and pass in order to continue his journey. This serves as both a practical plot device as well as a metaphysical manifestation of Roy’s inner progress.

The music by Max Richter is both triumphal and eerily beautiful, contributing to the contemplative feel of this mystery.

Ad Astra is not for everyone. It’s not properly a science fiction story, though it is set in a pragmatic future vision of human-conquering space. But it is far more violent than the average audience for a movie which primarily deals with inner analysis.

So go see Ad Astra if you are of the right age and want to see a thoughtful, meditative but dangerous odyssey. But go without any preconceived notions, for it is not the kind of science fiction movie you might expect, but approach it as you might a friend mulling over a retreat inspired epiphany which he wants to share.

NOISES OFF – BRILLIANT MADCAP COMEDY ON STAGE AT LCLT

 

SHORT TAKE:

Inventively staged, skillfully acted, and adroitly directed British comedy, the classic Noises Off by Michael Frayn, a play within a play at Lake Charles Little Theatre, showing from September 13 through September 29, 2019. GET YOUR TICKETS HERE!

WHO SHOULD GO:

Mid to upper teens and older for mildly sexual topics done in (almost) completely innocent fun. Nothing is shown and language is very mild. Younger than mid-teens should be parentally previewed and depend upon the child.

LONG TAKE:

Move over James Brown. The hardest working people in show business are the  actors performing Noises Off at The Lake Charles Little Theatre from Friday night September 13 through Sunday matinee September 29, 2019.

I’m going to try hard not to give anything away because you need to see this fast paced, clever and hilarious play with the fresh eyes this dynamic and brilliant cast, crew and director deserve to get. Not only is there a lot going on but this is the kind of play which is so funny and well written, and this version so energetic and professionally conceived, you’ll want to see it more than once. I saw Noises Off on stage years ago and the movie with Michael Caine several times but familiarity only made this witty badinage funnier and this iteration had me laughing from curtain up to curtain call.

The set is incredible – probably the most challenging I have ever seen at LCLT – and I can’t think of a soul in the world I would have trusted more to build it than LCLT’s own Randy Partin. Built by Mr. Partin in 110 hours over six weeks as a labor of devotion to this Theatre, it is one of, if not THE most ambitious sets LCLT has ever used. Seven (or eight depending how you define them) crucial entrance/exit portals in a two story parlor of a large off season bed and breakfast provides the setting of this raucous comedy as an ensemble cast rehearse and perform the first act of a British sex farce called Nothing On – a play within the play. The set is as much of a character as the performers.

As though channeling Led Zepplin’s “Stairway to Heaven” or Ike and Tina Turner’s “Proud Mary”, Noises Off begins gently – or I should say with that certain inherent gentility of an innately British parlor comedy – as the characters and their quirks are introduced. Then slowly the action builds over three acts to Mad Mad World levels of freneticism as tempers flare, sleepless nights take their toll, personalities clash, and jealousies rage amidst the over worked, under prepared thespians, who desperately struggle to make some sense of a timing-crucial confusing play and their own even more befuddled love lives. A tagline I once read sums it up nicely: “The drama! The suspense! And the curtain hasn’t even gone up yet!”

It takes a truly brilliant actor to play the fool – Jerry Lewis, the stooge and buffoon on stage and screen, was actually the brains and organizer of the Lewis-Martin team. Stan Laurel, on film and in vaudeville the ever whining, clueless whipping boy for Oliver Hardy was, in truth, the author of most of the routines and genius behind their success. Similarly, it takes virtuoso coordination and intricately planned team effort to appear to get wrong a play which, itself, is suppose to require flawless timing.

The clockwork details require talented hands and this brilliant LCLT troupe manuever like the Blue Angels on stage with, collectively, over a hundred years of tenured experience amongst them. You will recognize most, if not all, of the performers.

Brett Downer is the brave soul who directed this enormously challenging Russian nesting doll of a play which relies on timing, entrances, exits, and … sardines.

Heather Partin is Belinda/Flavia, the mediator of the beleaguered troupe. If you have EVER been to LCLT or a community band concert you will likely have seen Heather. Her resume is impressive, ranging from Nunsense to MacBeth, devoted wife of Randy, and costume designer for the show.

Paula McCain, most recently from Mamma Mia! but debuting with LCLT here, she plays Dotty/Mrs. Clackett, financially desperate for Nothing On to succeed and the center about which much of the interpersonal friction is created amongst the cast.

Greg Stratton, playing to type, is Lloyd, the director of this play within the play, who is part teacher/father-figure, part chaos instigator, whose mind isn’t always on the job at hand.       Greg teaches Mass Com at McNeese, has been acting and directing for decades from the nostalgic comedy Laughter on the 23rd Floor to the tongue-in-cheek mystery The 39 Steps.

The loveable and reliable but hopelessly insecure Garry/Roger is played by Michael Davis, a singer, actor, dancer and video producer, most recently in LCLT’s Pump Boys and Dinettes.

Rebecca Harris, having sparkled in ACTS Theatre’s Arsenic and Old Lace, is sweetly ditzy Brooke/Vicki who soldiers on no matter the obstacles in her own guileless way.

Angela Martin debuts with Lake Charles Little Theatre as Poppy, the devoted but under appreciated, both on and off stage, assistant stage manager.  While debuting here in her first speaking part Ms. Martin nonetheless has an impressive set of credentials which include a stint with London’s West End! not to mention being married to castmate Cary Martin.

Cary Martin is our own prodigal son, last at LCLT 20 years ago, but returning to the fold as Frederick/Philip, a well-meaning but daft and perpetually confused soul.

Cameron Scallon, veteran of LCLT and lately one of the leads in Bye Bye Birdie, plays Tim, of necessity the resident Jack of all trades, the exhausted and threadbare stage manager, who is constantly plugging up holes in this leaking levee with not enough fingers to go around.

Gary Shannon on stage is the amiable but constantly drunken Selsdon/Burglar and in real life is the morning drive show radio host for KHLA, host of KBYS’ Sunday morning Jazz Show, long time veteran of community theater and independent film makers here in Lake Charles, and who  some years ago, I saw perform an amazing Willie Loman from Death of a Salesman with only a scant few weeks preparation.

Accessories to the insanity are: James Johnson as set decorator, Dan Sadler as Technical Consultant, Jonathan in lighting, David Wynn from KBYS for sound, and Liz Trahan who was kind enough to put together the ingeniously crafted program.

Aaaaaaaaaaand not to discourage audience members from either buying concessions or hitting the “loo” but you’ll really want to stay for at least part of the scene changes during intermission.

So for the most fun you’ll have this side of your best friend’s wedding, go see Noises Off at Lake Charles Little Theatre. You can CALL 337433-7988, buy tickets at the door or get them HERE. And plan to go early in the run the first time, as you’ll likely want to see it again.

{NOTE: In an effort not to spoil the show I’m holding off on some of the photos, but will release them all after the run of the show.}