Theater review: The House of Blue Leaves

by Clyde Berry of John Garcia's The Column

It's so wonderful when a production is done right, and Theatre Arlington has done a fantastic job with its latest offering, John Guare's The House of Blue Leaves. As a whole, the entire production has polish not often seen in community theater and outside a few extremely nitpicky items and I would expect this production to be a front-runner for lots of local awards.

Blue Leaves had a troubled creation, and many still find the second act a bit awkward. Critics argue over whether it is a Black Comedy, Drama, or even Farce, when all elements are present. Guare's (at the time of its premiere) unusual style of storytelling was very discussion worthy then, but is less shocking now. The plot centers on Artie Shaughnessy, a loser with big dreams but no skills to back them up. He plans with his lover, Bunny Flingus, how to make it big in showbiz while struggling with what to do with his crazy wife Bananas. We meet this group around a visit by the Pope in 1965. Artie and Banana's son, Ronnie has gone AWOL from the service, has snuck home and plans to blow up the Pope. Throw in a visit from several Nuns trying to see the Pope, a MP, and eventually the showbiz (and childhood) friend who has "made it", and you have the full cast.

At the time of its premiere, everyone was fascinated by Guare's unusual portrayal of the crumbling of the American Dream, the dissolution of the middle/lower classes in their struggle and failure to rise above their means. These characters delude themselves in everything from their sanity, happiness, love, abilities, and expectations. While this candid look at these characters, who often address the audience was novel at the time, some wonder about the relevance in today's society. I think there is less of a punch to Guare's style now as we're used to these characters, we know them. House of Blue Leaves is the stage version of a reality TV show. Think about it, we're the fly on the wall and privy to not only everyone's actions, but their "confessional" monologues, given specifically for our benefit to clarify their thinking. Reality TV has made the ambitious loser a celebrity in their own right. We are addicted to their struggles, mock them in their delusion, critique their downfall, watch their interviews on Letterman, then download their singles off iTunes. We all know what their mistake is and if we were in their shoes, we would have done it so much better, and differently. Is Artie any more deluded than the first round audition folks of American Idol? How many episodes of The Real World, could producers stretch out of these storylines, and manipulate them to keep us interested? I'd wager Blue Leaves is still relevant today, just as interesting, but less shocking now that we're used to the devious alliances as folks are voted off the island.

BJ Cleveland has assembled a fine cast that deliver solid performances. Leaves will make you laugh, then turn around and sucker punch you, and you'll like it. Ted Wold's wide-eyed Artie is pitiful, earnest, and the neighborhood guy we all know. Wold is in full control, never over the top, and keeps Artie's enthusiasm in check with his frustration as the events progress. He is a delight to watch and his characters progression is justified, motivated, and completely believable.

Lana Hoover plays Bananas without resorting to any cheap laughs, schtick, or scene stealing. Hoover's physicality and voice brings the lovable and tragic Bananas to life in a finely crafted manner. There's a lot of subtlety there, so keep an eye on her. Bunny Flingus, as portrayed by Lisha Brock is fun to watch. The scheming Bunny delivers her punch lines with excellent timing, and is quite good at manipulating Artie with gestures, looks, and all the things not in the script. Young Skyy Moore does well as Ronnie. Moore clearly conveys the intention of the lines in a natural manner without making the teen contemporary. He is consistent and never goes overboard when it would be very easy to do so.

The supporting cast is strong as well. Eugene Chandler and Elizabeth Conly do well as the Showbiz success stories that represent Artie's dreams. Nuns Beverly Murray, Becca Nordeen, and Hilary Evitt have some scene stealing moments, and work very well as a group, especially in ad-lib reactions. Tyler Kirk is effective in his brief appearance as the policeman.

Cleveland has created a tightly knit cast and piece. His pace of storytelling is quite good, and the first act, which has essentially three characters, passes pleasantly and quickly. His tight control over the farcical scenes allows them to fit in the story humorously without seeming ridiculous or extreme. The characters are presented naturally, and not treated as stereotypes, nor taken to extremes for an overly stylized statement. Cleveland allows the piece to speak for itself, and it does so quite successfully.

Jack Hardaway's set is wonderful. The apartment unit looks lived in, and has been dressed very thoroughly. The sheet music at the top was a very nice touch and thematic reminder. I was especially impressed with the realistic floor. Michael Winters lights are so effortless, you forget they are carefully designed. Everything looks realistic, and the absence of any hot spots or holes provides a complete and even look. Compliments as well to Sarah Barnes, Stage Manager, for great timing in calling cues that help us shift back and forth comfortably without making a scene change a moment itself and disrupting the story. Beverly Murray's costumes are fun and appropriate to the characters, without resorting to period extremes for effect.

The House of Blue Leaves is not a piece you'll see done often, but if you want to see it done well, this would be the one.