Theater review: Harvey

by Esther Coughey of John Garcia's The Column

Theatre Arlington's red velvet curtain has opened. Not on a children's production of Peter Rabbit, or The Velveteen Rabbit, but rather on a gentle comedy with whiskers -- as witty as it is endearing -- Harvey. Written by Mary Chase, Harvey won a Pulitzer Prize and was made into a 1950 film starring Jimmy Stewart; both the play and the film have enjoyed popularity and long-lived success. The story centers around protagonist Elwood P. Dowd, whose best friend is a six-foot Pooka -- in the form of a rabbit -- whom no one else can see (a Pooka is a mysterious creature from Celtic mythology that is especially fond of rum-pots and crack-pots). Championing the troupe of on stage squabbling is Elwood's sister, Veta Louise. She desires to put him away in a sanitarium, but after over-confiding in Dr. Sanderson that she too sometimes sees Harvey, she is mistakenly committed and so the story unfolds.

The joys of community theatre lie not just in the crowd-pleasing tales presented, but in the lovable flawed moments that so often occur when local citizens are provided an opportunity to be involved in a production. As a result, the audience arrives, not expecting controversial avant-garde material, but rather a festive and entertaining show and hopes that the set doesn't topple. These conditions are met and exceeded here, although, just barely on the latter given the noise that resonated from behind the curtain during scene changes. That being said, it is unfair to criticize Theatre Arlington's Harvey too harshly for moments of giggle-inducing un-professionalism: actors struggling to recall lines, set pieces not cooperating, "What in the world is wrong with this cord?" quipped Veta Louise Simmons (Shirley Orr) as she struggled to hang up the phone in the opening moments of the show. These instances may actually contribute to the magic of a production and charm an audience. So who cares if the largest laugh of opening night was a costume piece stuck in the door? By the conclusion, we too were seeing Harvey, so mission accomplished.

This performance of Harvey, directed by Charles Ballinger, can really be summed up under one name: BJ Cleveland. From the moment he steps on stage as the unfailingly polite and sweet, albeit with something of a drinking problem, Elwood P. Dowd, Cleveland unquestionably owns the show. The cast and supporting storyline fade to white noise as the audience collectively anticipates more stage time for Cleveland and his friend Harvey. With his expressive countenance and absolute commitment to his character, Cleveland blends humor, sadness, and wisdom into his undoubtedly flawless interpretation. Subtle actions -- such as the way he sits with his diamond patterned socks exposed, his eyes following the dial of the phone as he makes a call, or the way he holds the "visitor" card as if the doctor had bestowed upon him a purple heart, all moments that a lesser actor could not have pulled off to the degree that garnered such audience appreciation for Cleveland.

The role of Elwood is special and merits a Nathan Lane-like delivery, but Cleveland deftly goes beyond this, making each moment his own and turning even the simplest of dialogue such as, "Oh, what did you have in mind?" into a beautiful and memorable experience. Cleveland's spotless portrayal continues even during the curtain call where he cheerfully tosses Elwood's calling cards into the audience and then welcomes Harvey to join him for a bow. Unequivocal perfection.

Not to be upstaged by the superb performance of Cleveland is Shirley Orr as the exasperated socialite sister Veta Louise Simmons. Played with aplomb, she is absolutely adorable as a woman with few, if any, saving graces. She is reminiscent of the monstrous character of Hyacinth Bucket (who insists its pronounced "Bouquet") in the British comedy Keeping Up Appearances. Orr has the audience eating out of the palm of her hand in a scene where she returns home after being manhandled by an aggressive male nurse named Wilson. Possessing the physicality of Curly and channeling the combativeness of Moe, this role is well played by Scott Crew. Despite all of her onstage tirades, Orr is the indispensable glue that binds the show: linking not only the characters together, but also a play that is in some ways outdated, to society and setting.

Complementing the stellar performances of Cleveland and Orr is Michael Craig Rains as Dr. Chumley. In a conversation with Elwood, Chumley confesses that he would like to lie beneath a grove of maple trees and have a strange, quiet, pretty woman stroking his forehead as he shares the things he keeps locked within himself. Rains delivers these lines in such a forlorn and tender way that it makes every woman in the audience feel a certain maternal urge to be the aforementioned lady who gently comforts by saying, "Poor thing, poor poor thing."

Arland Bishop and Elizabeth Conly, who play Dr. Sanderson and Nurse Kelly (described as beautiful and dumb), add a clichéd romantic element to the play; although, a little bit more humor and pizazz could be infused between the two if Conly, who has the natural grace and elegance of a ballerina, would channel her inner Anna Nicole Smith and have a little more fun as the coquettish nurse. She does, however, gain dimension for her character through her emotional frenzies.

I would be remiss if I didn't pay tribute to Jacque Wahl in her energetic portrayal of Myrtle May Simmons and to Dan Nolen, Jr. as the honorable mustached Judge Omar Gaffney.

Oh no, all this rabbit talk leaves me with the Veggie Tales "Bunny Song" hopping playfully through my head! Harvey, you wascally wabbit!