Theater Review: You Can’t Take It With You

by John Garcia of John Garcia's The Column

Hart and Kaufman's comedy has become a major staple in regional and community theaters, as well as high schools all over the nation.

This classic by Moss Hart & George S. Kaufman made its debut at the Booth Theater in 1936, and it would go on to win the 1937 Pulitzer Prize in Drama. The Sycamore family and all their zany friends would go on to perform 838 performances in the play’s initial run.

There would be three more Broadway revivals (1965, 1967, and 1983). The '83 revival starred such stars as James Coco, Colleen Dewhurst, and the great Jason Robards as Grandpa.

Hart and Kaufman's comedy has become a major staple in regional and community theaters, as well as high schools all over the nation. It's a safe choice not to offend anyone. It's wholesome, sweet, and full of family love and values.

I'm sure in its original run such topics as sex and not paying your taxes might be a little controversial, but time has not been kind to the piece. It now has become lackluster, not very funny, and at times boring. Comedies back then seem to have this common theme of long acts involving endless pages of exposition, huge casts, and they seem to have all the time in the world to unfold their storytelling. But today the piece has become a decaying relic from the vaults of theater history.

Garland Civic Theatre has currently remounted this drawing room comedy of an erratic family and how they almost ruin a romance between their daughter and the son of a rich family. The production is pleasurable, and the talented GCT Company works overtime to entertain, but in the end the play itself still seems tedious and wearisome.

Director Kyle McClaran does an exquisite job within his blocking and staging. He uses every space available to create charming picture windows to view through. Throughout the evening he has cast members on steps, on levels, and all over the house set, giving the piece a warm glow of family life. To dust off the cobwebs of the play, McClaran has directed his entire company to be individual, unique characterizations. I've seen several productions of YCTIWY in which characters run together becoming one big bowl of blandness. Not under McClaran's direction. It was entertaining to see a large company separate each other with clean, concise characterizations.

To help McClaran's direction and vision, he has a terrific set of designers. Kimberly Corbett's mélange of scenic elements is a vision of beauty. She has a long staircase, a fireplace, a dining room on a platform, a large picture window, and so on. She has every wall covered in different patterns and wallpapers. Her fantastic scenic design allows no problems for line of sight, and it also gives McClaran so much room to play with. Corbett's set is greatly aided with gorgeous set dressing provided by McClaran and properties by Jean Holmes. The set is overflowing with bric-a-brac, curios, urns, flowers, candy jars, stuffed animals, and so on. There is also a beautiful Christmas tree as well on the set, which was designed by Kimble J. McSweeney.

Michael Campbell's lighting design is ravishing. The colors of purple and lush pinks spill from the outside picture window, for the firework explosions he has reds flooding the stage, and during various scenes throughout the play he adds pools of light and other visuals to create a sweet veil of warmth.

All these elements make the production look as though you were peering into a marvelous Christmas snow globe. All that was missing was some glitter and snow!

Kudos as well to Jeulet Noyes' period costuming. The tuxes looked elegant, and the evening gowns for the two women are tasteful in period and design. One is a big billowing pink gown with sprinkles of sequins; the other is a tight silver satin gown with diamond clips. Very Jean Harlow.

The entire company delivers satisfying audience-pleasing performances with several that deserve special mention.

Within the large cast, Michael Wiseman, Tracy Hurd, and Renee Krapff stand out. Wiseman portrays the manic, hyper Ballet teacher Boris Kolenkhov. A large man with brooding dark features, the actor has great energy that sparks his characterization brightly. While the Russian accent does disappear here and there, he nonetheless gives an eye-popping, scene-stealing performance.

Tracy Hurd not only gets to wear the most lavish costumes in the show, she has two great parts to sink her teeth into. One is the rich and stuffy Mrs. Kirby—encased in silver satin and dripping in diamonds, she's one hot momma. With her snooty attitude and voice dialect, she sounds like Mrs. Lovey Howell from Gilligan’s Island. The other role is the Grand Duchess Olga Katrina. For this role, Ms. Hurd has created a fantastic character. With a deep throaty Russian accent, grand manners (even though she's a waitress on Times Square now), and dressed in an overflowing cascade of furs, she commands the stage with this characterization.

Renee Krapff portrays Essie Carmichael with the right amount of childlike innocence and horrible ballet dancer in training. Ms. Krapff never once walks across the stage, she is constantly doing ballet steps or dance sequences which result in pleasurable laughs from the audience. She's a delight in the production.

Others in the company who deliver dandy, top notch work include: Susan McMath Platt as Penelope Sycamore; Frances Elijah as Rheba; Don Berger as Grandpa; and Doug Fowler as Anthony Kirby, Sr.

As the two lovers, Cheryl Lowber and Michael DeVous have charming chemistry and play off each other wonderfully. You do enjoy from the darkness of the audience watching their relationship grow with a warm fuzzy feeling that cannot help but put a smile on your face. You also have to give them major kudos for having to do a dreadful dance duet in the first act, which I am certain is not in the original. Both dance to a song from the animated film Anastasia. It comes out of nowhere and is so out of place you think for a second Disney on Ice crashed onto the GCT set. Visually it is lit wonderfully, but it really sticks out like an eye sore.

Two other actors that deserve recognition are Joe Porter as Mr. DePinna and Jeremy Schwab as Ed Carmichael. Both talented actors create very unique, endearing performances that beg for more stage time. Porter's DePinna has a strange laugh that works like a glove for his characterization. Schwab has the best facial expressions within the company; he is constantly in character, thereby creating delightful subtext with his face.

The production does have its share of pace problems, especially in the first act. Several actors are zooming along at solid speed, only to have one or two actors go way too slow, talking through molasses. Another problem is all the irritating music that is played in the background. It is a nuance that at times drives you crazy. There is some honest, heartfelt acting happening on stage, only to be ruined by the background music that blares out. The play does not need this whatsoever; the music cuts into the honest emotions that the company are trying to unfold.

The best comedy and the major highlight of the evening is the parlor game that is played between the Kirbys and the Sycamores. Here's where everything falls into sync. The pace is going at terrific speed, the actors within the scene bring superb comedic timing and delivery, and they all have great facial expressions. This whole scene alone is worth the price of a ticket. It is hilarious, fresh, and full of so much energy.

Even with its problems, the production still glows brightly like the Christmas lights that swirl around the tree on stage, and that bright glow comes from this wonderful array of talented actors. They rise above the rusty, creaky script to still give the play its oomph.

GRADE: SCRIPT: C- PRODUCTION: B-

______________________________________________________________________

Production runs through December 9th. Performances are scheduled in the small theatre at the Granville Arts Center, 300 North Fifth Street in downtown Garland for Nov 31, Dec 1, 2, 7, 8, and 9 at 8:00PM and Nov 19, 25, 26, Dec 3, and 9 at 2:00 PM. Tickets are available by calling the box office at 972-205-2790. Ticket prices are $16 to $20. Discounts are available for those over 60 and under 18. Special prices are also available for groups of 15 or more.

Pegasus News content partner - The Column

For more reviews, join the thousands of subscribers around the country that read The Column