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Theater review: “Leading Ladies” steps up with laughs at ACT
Tim Reid • published January 23, 2009 12:15 am
Asheville Community Theatre has a real crowd pleaser with “Leading Ladies,” Ken Ludwig's irrepressible comedy about two struggling actors posing as a wealthy woman's long-lost heirs.
Second-rate thespians Jack (Brad Pearsall) and Leo (Steve Wilde) are down to their last dollar as they travel rural Pennsylvania presenting snippets of Shakespeare at Moose lodges.
Jack reads that a rich old lady in a nearby town yearns to see her long-lost relatives Max and Steve before she dies. He decides to impersonate them in order to share in her multi-million-dollar inheritance.
Leo is a bundle of nerves, but Jack pulls him into the scam anyway. Leo's reservations turn to panic when they find out that Max and Steve are short for Maxine and Stephanie – they must pretend to be women!
Residents of York seem only too trusting when Jack and Leo arrive dressed in drag proclaiming to the long-lost relatives. Shirley Cohen nearly steals the show as irascible old Florence, who takes an instant liking to them.
Florence's real niece Meg (Brooke Whitcomb) is thrilled to welcome “Max” and “Steve” although it means she will share her aunt's inheritance with them. Ditzy blonde Audrey (Zoe Renert) met the actors on the train before they concocted the scheme but believes the scam anyway.
Mike Vaniman is hilarious as Florence's inept physician Doc Myers, who is obsessed with getting his spaced-out son Butch (Drew Collins) to marry a woman with money. The only person who sees through the actors' ruse is Meg's manipulative fiancé Duncan (Chris Martin), who wants her to get all of Florence's inheritance so he can do with it as he will.
Pearsall and Wilde are masterful at keeping up the tension as nervy Jack must constantly prop up erstwhile partner Leo lest he dissolve in fright and spoil the deception.
Director Michael and a talented cast wrest every laugh out of Ken Ludwig's brilliant script. This is the perfect play to puncture the winter doldrums.
Tim Reid reviews theater for the Citizen-Times. He can be contacted at timreid4@charter.net.
23 January 2009
Leading Ladies
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15 comments:
Er... "Director Michael" would be... who, exactly?
Ha, it's Michael Lilly.
This production had many challenges facing it, the least of which was Ken Ludwigs script which lost my attention during the lengthy train scene. I was distracted by many things in the show like the fact the 1950's phone was cordless and distractingly so with Chris Martin's continuous pacing. It was challenging to hear actors, some folks didn't seem quite comfortable enough with the script or off-book. The costumes were stellar, set design was fantasic and the play had it's moments, but overall it was a challenge to endure. The Great Aunt stole the show with her comic timing and pizazzz. When will ACT do shows that challenge the audience and not send them straight to 35 below!
You have to take into consideration the target audience for a mainstage ACT show. They are older and like farces, cheery musicals, or well known dramas. That being said ACT's mainstage shows mostly cater to them. You're not likely to see anything like say Pillowman on ACT's mainstage anytime soon. Now I have yet to see the show, so I can't comment on anything particular, but I will say I find this years ACT mainstage season to be a bit drab. The fact is that while maybe 35 Below or NC Stage might be able to turn a profit off of a challenging show, ACT cannot, and that's why they pick the shows that they do. I think a great example of a theater that has found a good balance between moneymaking shows, and artistically challenging shows is HART theater out in Waynesville. They take risks on shows like Bat-Boy, Arcadia, or Parade, but also throw in a West Side Story, or a You Can't Take It With You to provide a nice safety net.
I really appreciate your point, Jason. I will add that NC Stage is never going to turn a profit on a play. Be it Pillowman or Mama Mia, the only question is, do you lose more money than you expected to lose? If not, it's a smashing success! :)
Yes I guess I should say, make it into the black. A profit what is that? :)
The sad thing is that NC Stage could be turning a profit....the problem is that most of us get sick of seeing the same 5 people on stage all the time. Or is it really wise to put the staff in every production? Isn't it called Show Business? If your show isn't turning some kind of profit than I am afraid you are missing the business part of it. I bet the Catalyst shows turn profits because they are using local people on-stage. I mean wouldn't it be nice to see a show with different people in it every now and again?
While all these points are interesting and appreciated, the editor would like to remind the dear readers that the focus of this blog is limited, and that this thread is about "Leading Ladies." Perhaps a new thread is in order?
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