Writing Duo’s Words Build ‘Romantic Comedy’
Love is often about bad timing, one of the key ingredients in a romantic comedy. Add the pride and impulsive passion of two playwrights and you have a sarcastic drama that delivers more comedy than romance. Such is the entertaining Theatre Palisades’ production of Bernard Slade’s ‘Romantic Comedy,’ which runs through May 2 at the Pierson Playhouse. Directed by Sherman Wayne and produced by Andrew Frew, this show captures the raw emotions and awkward moments that define real-life relationships. Just remember to get comfortable in your seat’the production runs about 2-1/2 hours. Born in Canada, Bernard Slade began his Hollywood career as a writer and story editor on television’s ‘Bewitched.’ As a Broadway playwright, he made his debut with ‘Same Time Next Year’ in 1978. Set in the study of playwright Jason Carmichael’s New York townhouse, ‘Romantic Comedy’ first transports us to 1965, and to the wedding day of Jason (Noel Jonston) and his high-society fiancee, Allison St. James (Elizabeth Kate). We know their love is a stretch because, as Jason says, ‘She’s all the things I’m not,’ though we initially believe that upper-class descent is their common bond. So Allison is hardly distressed when she finds her soon-to-be-husband with another woman’Phoebe (P.J.) Craddock (Jana Bozeman). Quirky and timidly cute in an innocent, Alice-in-Wonderland-meets-Meg-Ryan fashion, Phoebe is a self-proclaimed admirer of Jason and eager to replace the writing partner Jason has just lost. After an awkward first encounter’a true ‘romantic comedy’ moment’Jason and Phoebe toast ‘to us,’ suggesting that their writing partnership is a marriage of sorts; in fact it, even shares the same anniversary date as Jason’s real marriage! By the end of the play, we toast the actors Jonston and Bozeman, whose chemistry builds throughout the production as their relationship intensifies. Symbolic of the times is Jason’s chauvinistic concern about working with a woman (is Phoebe sure she doesn’t want to become a ‘nursing mother?’). Over the course of 10 years, the writing duo produces a few stinkers and some real successes, such as ‘Girl in the Back Seat,’ ‘Innocent Deception,’ and ‘Somewhere Every Summer.’ (No wonder that Slade’s play has the purposely generic title ‘Romantic Comedy.’) What may throw attentive audience members off is the fact that these dynamic-looking show posters (by Manfred Hofer) are already hanging on the wall of Jason’s study when Phoebe goes to interview for the writing partner position. Huh? We learn that writing for theater is not unlike being in love: the highs and lows often go hand in hand’like the time Phoebe humiliates herself by reading her play’s bad review in public and later says she’s sad because ‘It was the best time I’ve had in my life and now it’s over.’ Phoebe teaches Jason to explore real, human emotions, which slowly seep from the page into his actual life, as he becomes less of a father figure/mentor and more of a jealous lover. Jason is particularly selfish when it comes to sharing Phoebe with Leo Janowitz (John Clement), a reporter who comes to interview Jason and falls for Phoebe. Leo is the signature good guy who says, ‘I can’t stick around until the third act to see who gets the girl.’ (Slade’s play was written as three acts, but Theatre Palisades’ production is two, with several scenes in each act). Jason finds the perfect weapon of revenge in actress Kate Mallory (Kalie Myers), a tall and slinky nymphomaniac whose overtly sexual appearance and commentary make this production more of an adult than a family show. Myers also has the odd job of flipping the scene-change signs to reveal the time of day or year, and wears a slightly different outfit each time. One of the most well-cast characters in the production is Blanche Dailey (Pamela Murphy), Jason’s flashy agent, who acts as a friend, mother figure and go-between for Jason and Phoebe. What fun the costume designer (Joyce Gale Smith) had with these characters is reflected in some of the outrageously gaudy outfits and the distinct transition from the ’60s to the ’70s’well documented in the cosmetic and stylistic transformations of the characters. While ‘Romantic Comedy’ is predictable, as are most romantic comedies, it truly is ‘a celebration of the human condition,’ as Phoebe believes theater should be. The play runs Fridays and Saturdays at 8 p.m., and Sundays at 2 p.m. at Pierson Playhouse, 941 Temescal Canyon Rd. Ticket prices range from $9 to $15. Contact: 454-1970.