ACCENTS AND PACE HAMPER LTN’S

WEST MOON STREET

Theater Babe Says:  Go . . . and Show Your Support for Local Theatre

Farce is perhaps the most challenging of all art forms to produce.  While the Theater Babe applauds the effort that is inherent in the Little Theatre of Norfolk’s West Moon Street, this production does not fully rise to the challenge.

West Moon Street was written by Rob Urbinati based upon an Oscar Wilde story, so it is not surprising that elements of the play are reminiscent of The Importance of Being Earnest.  West Moon Street also takes place during the Victorian era, and, like Earnest, parodies the British aristocracy of that period through use of a nonsensical plot.  At a soiree hosted by Lady Windermere, a socialite who prides herself on maintaining an eclectic guest list, Lord Arthur Savile has his palm read, only to learn that he is destined to commit a murder.  Because he cannot abide the notion that his fiancé, Sybil, might suffer any adverse consequences from his unfortunate future, Lord Arthur concludes that he must commit the murder before the wedding to get it over and done before they proceed into nuptial bliss.  The lengths to which Lord Arthur is willing to go to fulfill his “destiny” and whether he succeeds are the essence of the story.

The plot is featherweight, but under Rick Hite’s direction, the LTN production is ponderous mostly due to the sluggish pace that undermines the quick, acerbic wit of the dialogue.  The humor in an Wilde-esque comedy is found in ludicrous statements delivered with utter sincerity – which is not the same as plodding seriousness.  Here, many of the actors speak in a determinedly measured rate, and what should be light, ridiculous lines are therefore delivered with an unwarranted momentousness at odds with what is supposed to be sprightly comedy. 

Nowhere is that more obvious than the opening scene.  Lord Arthur (Christopher Bernhardt), Sybil (Darden Dickerson) and Sybil’s aunt, Lady Clem (Barbara Allan) are gathered with Lady Windermere (Kendra Merlet) during a party.  The dialogue is designed to introduce certain subplots that should lend tension to the tale, but the pedantic delivery of the lines causes our attention to drift and the opportunity to add complexity to the basic storyline is lost.

As Lord Arthur, Mr. Bernhardt delivers an energetic performance and his enthusiasm for theatre is both obvious and delightful.  His portrayal, however, presents the character as a buffoon – understandable, perhaps, since on the word of a total stranger, Lord Arthur decides he must kill someone.  That interpretation has significant deleterious ramifications on the other main characters by undercutting their credibility.  Because Lord Arthur’s absurdity is highlighted almost to the exclusion of any positive quality, we cannot understand why Ms. Dickerson’s elegant Sybil would find him appealing, and we do not believe that Lady Windermere, who apparently thrives upon wit and intrigue, would be so enamored that she fabricates a complicated scheme intended to end his engagement. 

Ms. Merlet’s portrayal of Lady Windermere is plagued by her choice to speak in an affected accent toned in a cadence that does not please the ear.  Although Lady Windermere is the spoke around which the plot turns, Ms. Merlet’s performance does not convey the whimsical calculation necessary for the role to be truly convincing.  As Sybil, Ms. Dickerson is lovely but bland; because we do not believe she truly possesses any affection for Lord Arthur and no other motivation is persuasively presented, her protestations regarding the postponement of their wedding fall flat.  Lady Clem has some of the best punchlines in the show, but Ms. Allan’s delivery of her dialogue is constantly hindered by her choice to use an exaggerated nasal accent that is often unintelligible. 

The most credible and diverting performances are by actors who have comparatively little stage time.  As Herr Winckelkopf, an “expert” whom Lord Arthur consults as he plans the murder, Jonathan Hite is enjoyably menacing.  He presents a comedic darkness as he lurks and scowls, and we believe in his villainy even as we are entertained by it.  Mr. Hite embraces the preposterous dialogue without overacting, and his best moment may be when Herr Winckelkopf explains the ethics of his profession. 

 

Wade Brinkley gives a standout performance as Charles, Lord Arthur’s valet, who assists his employer in managing the logistics that engineering a murder entails.  Mr. Brinkley is the epitome of the stereotypical unflappable British servant, and his handling of Lord Arthur’s wardrobe demonstrates a keen understanding of subtle physical comedy, garnering repeated and well-deserved laughter from the appreciative audience.  He speaks in a natural, credible accent and delivers his lines with an understated drollness that is perfectly suited to his character.

The set design by Brian Cebrian is interesting and visually appealing, consisting merely of a few pieces of furniture set before a scrim on which silhouettes of windows or trees are projected to suggest a backdrop.  Director Rick Hite, Mr. Cebrian and lighting director B Butterbaugh choose to leave the scrim lit throughout the performance so that the actors traversing across the back of the stage are fully visible at all times.  Occasionally one of the actors does a bit that merits the attention, but mostly we just watch people walk back and forth, contributing to the protracted pace.  Likewise, the stage crew (Brian Cebrian, Pate Fresh and John Roberts) are costumed and move the furniture on and off with choreographed flourishes, with mixed results.  Some of the stage crew’s antics are indisputably amusing, but it is an ineffective way to strike a set between each and every scene.  If the pace of the acted scenes were more lively, perhaps the scene changes would be a charming distraction.  As it is, however, except in certain plot-specific moments, the composed performance of the scene changes simply adds to the length of the production.

Musician Celicia Slafter adds a nice touch by performing brief, well-known melodies on various instruments to enhance tone and provide foreshadowing, and the Theater Babe would welcome the opportunity to hear her play in a show that would better permit her to display the breadth of her talent.  The costumes, by Kat Fresh, uniformly evoke the appropriate time period.

Bottom line?  For farce to be successful, we must believe that the characters believe in what they say and that their actions have a purpose, however far-fetched.  Because that credibility is largely lacking in LTN’s West Moon Street, the production is not entirely successful, but it is always worthwhile to support local community theatre.

 

Performances run thru April 7^th, Friday – Saturday at 8 p.m.

and Sunday at 2:30 p.m.

at The David L. Burton Playhouse,

the Little Theatre of Norfolk

801 Claremont Avenue, Norfolk, Virginia 23507

Tickets are $17 with discounts for full-time students, seniors and military.

There is an additional $2 fee per ticket order – purchased online or in person

Reservations can be obtained by calling the box office at (757) 627-8551 or

ordering online at ltnonline.org.

 

 
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