Theater Review: The Makeover

by John Garcia of John Garcia's The Column

On Thursday's episode of the hit TV comedy "30 Rock," the staff of TMS were glued to the TV screen as they watched the season finale of the reality series, "MILF Island" - except Head writer Liz Lemon. The episode was brimming with gut-busting laughs. So much so that I watched the episode three times back-to-back because of the constant jokes that were flying all over the place. Liz tried with all her energy to defend writers and artists against the dreg that is reality TV with her staff & boss.

Television reality shows have a laundry list pros and cons, but it does achieve one thing, it divides the artistic community like Charles Heston walking through a tidal wave. There are those who feel that TV reality programs take away jobs from actors and writers as these people are not trained "actors" per se. Nor do they have the need for any lines or plots, as it is all live with everyday people.

But TV producers and network executives love them because they are so cheap to produce; they have no actors with an entourage of publicists and agents making outlandish demands. Nor do they have writers constantly banging at their doors trying to force them to allow the freedom to create characters and plots that are artistically bold, new, and though provoking - instead of the same old dribble that keeps popping up on television screens all over the nation.

As an actor, I totally agree. It does take jobs away from thespians who have worked on their craft all their lives. I also agree with the writers, because let's face it, there are a myriad of TV shows that stink like two week old cheese left outside in the sun.

But as a faithful TV viewer, I also am a fanatic when it comes to certain reality shows, it practically is an addiction. I do need like caffeine my weekly doses of Dancing with Stars, So You Think You Can Dance, Big Brother, Project Runway, Top Chef and the ruler of all TV reality shows-American Idol. Since season one I have been a super addicted freakazoid fanatic of this singing competition show.

Network executives and television producers of regular serial dramas and comedies lost a lot of my support and viewing because of their hypnotic worship towards ratings. They only rely on those Nielson ratings to determine the life and death of TV shows. Two of the best TV dramas in the last five years to hit the airwaves were NBC's Book of Daniel and ABC'S The Nine. Due to low ratings, both shows were shelved after airing less than six episodes. You invest time & energy into these new shows and its characters, only to see them get canned. After the demise of both dramas, I no longer watch new dramas as a whole. It's just not worth the gamble. I will admit that I did try again with the dark, sexy vampire drama Moonlight, and as usual, it is not on the Fall TV schedule.

So, what would you do if your favorite reality show came banging on your door LIVE?! Now before you leap with excitement thinking you see outside your window a man carrying balloons and a big check-what if it was a reality show that takes overweight people to an island to make them lose weight?

That is the primary theme that flows through a new comedy drama The Makeover, which is receiving a satisfying (if somewhat uneven), highly pleasurable world premiere at Runway Theatre.

Written by Patsy Hester Daussat, who also serves as its director, the play takes us into the home of the Barnsworth family, Mike, his wife Melanie, and their son Keith. It turns out that Mike wrote a letter to his wife's favorite TV reality show, "Facing Facts," thinking she would love to be on the show. But he did not think it all the way through as his wife had made peace with her weight; only to have it revealed in front of the entire country that her husband thinks she's too fat.

Daussat's play is quite entertaining and has a solid, robust share of loud laughs within her writing. She has a keen sense of humor and peppers her script with references that are common in today's world lingo (Myspace, etc). She nails in honest revelation within the second act the issues of being overweight in this country. Melanie explains to her best friend Paula how the media and society treats people of girth with brutal honesty, never once sounding preachy or whining -- but instead she writes a truthful, immensely heartfelt observation. Daussat's writing here for that scene alone is terrific.

I think the play works best when it stays focused on Melanie and her own family. The subplot of the next door neighbor's own marriage problems lacks emotional weight and purpose within the frame of the primary theme of Daussat's play. In fact this subplot slows down the action and becomes a nuisance. Another subplot that doesn't work is the relationship between Melanie's son and the reality show intern. It never truly develops in a truthful, satisfying conclusion. It seems like it was tacked on as an afterthought.

An idea that would have been fun to watch was the actual reality TV show itself. I totally understand the constraints in today's theater company budgets. But it would have been a hoot to watch a video screen /scrim showing the actual TV show "Facing Facts." The reactions of the Barnsworth family and their friends on live TV would have been comedy gold. Also maybe show an episode of Melanie's progress would help connect the dots within the frame of the plot.

Finally, I must comment on a small group of lines and stage action that I have to confess, I did find a tad offensive.

At the top of the play, the two married couples are playing cards, where in conversation they bring up the reality show "Queer Eye for the Straight Guy." One actor says the name of the show with a slightly high pitched lisp. But then another actor stands up and talks in a flamboyant voice, and prances downstage with a broken wrist and lisps about being dressed in a pink polo by the Fab Five. I'm sure they meant no harm, but this does reinforce a stereotype that the majority of today's culture no longer believes in. The image of a lisping, flaming gay male is offensive to today's society. This image that of gay men prancing and lisping is just not funny anymore. I actually squirmed in my seat from becoming uncomfortable and a little hot under the collar as this happened on stage. It should be noted that the audience reacted to this with what is best described as a soft, uncomfortable laugh. Again, I am positive the cast or director meant no harm whatsoever. It's just a point I'd like to voice that I observed sitting in the dark.

When the piece keeps its focus on the Barnsworth family, that's when the play achieves a wonderfully entertaining piece of theater. The conflicts and character arc within the Barnsworth marriage really work quite well and gives the piece its truth, heart, and holds the audience's interest. Daussat's playwriting talents are off to a great start, she does show great promise as a playwright. Even with the flaws, the play itself is by far a solid audience pleaser.

The majority of the cast does deliver the goods within their acting craft, in particular the three actors that make up the Barnsworth family.

Charles Carroll hits all the right notes as the only child of Melanie & Mike Barnsworth. As "Keith", Carroll provides the role with an organic, believable balance of humor and loving strength. He never seems out of sync or show any hint of false pretense or hammy acting. He instead overlays the character in believability. His chemistry with his parents is quite moving and only adds to the pleasure to observe Carroll's work within this production.

Andrew Barns gives a spiffy, entertaining performance as "Mike", a loving husband who only thought he was doing the right thing to please his wife. Barns does struggle a little in the first act to firmly plant his motivation and characterization, but once he did, he sailed through with a terrific performance. He glides easily through the waters of being both paternal and a loving husband. I thoroughly enjoyed Barns' performance.

In the leading role of "Melanie Barnsworth" is Sheila D. Rose, who not only walks away with the show, she takes the hearts of the audience with her as well. She gives a truly beautiful, enchanting performance as "Melanie", a loving housewife whose weight problems are flashed before the entire nation on live TV. She never once drops character, but instead reveals in organic truthfulness the life of a person who is not thin. Her anger comes from deep within her characterization that is riveting. Her face becomes a see-through looking glass as we see vividly the pain and hurt that ebbs through her heart and soul with her facial expressions. I've never seen her in a leading role before, so this was one hell of a dazzling debut as a leading actress. Ms. Rose is the heart and soul of this production.

In the supporting roles, kudos must also go to Adam Henderson and J. Christine Lanning. Henderson portrays "Ricky Giacobi", who is Keith's best friend. While the actor doesn't have much scene work and his character arc is paper thin, he nonetheless achieves some of the loudest laughs within the production. Ms. Lanning is pitch perfect as the evil British hostess of the reality series, "Facing Facts." With her skin tight outfits, layered on make up, and snooty attitude she reminds you of Posh Spice from the second the stage lights hit her. She's a hoot in the role!

Judging from the sold out house, Runway has a knockout hit with this world premiere on its hands. Runway Theatre is no longer a quiet, suburban community theater. Since last year, they have worked outside of their comfort zone and have honestly grown artistically. I saw their terrific production of Move Over Mrs. Markham and the pleasurable Urinetown. In fact their production of Urinetown was met with a basket full of Column Award nominations, winning "Best Musical." Something tells me with The Makeover, they just may have a return visit to the Column Awards stage once again.

It should be noted that Ms. Daussat's play The Makeover has been bought by Samuel French, the leading publisher of plays and musicals in the world. This means Ms. Daussat, her crew, and the original cast will forever be listed in the script. That's a great honor indeed. Like I said, Runway Theatre is generating loud buzz, and people are paying attention! Congrats!

GRADE: B

The Makeover runs through April 20 on Friday & Saturday at 8 p.m. and Sunday at 3 p.m. Call 817-488-4842 for reservations or purchase online.