High, fast and funny

Jessica Lynn Carrol and Liam Vincent re-creating the hilarious sixties

There I was, standing in the bridge club before the game, and Tom J asked me if I could play Sunday.  Looking in my datebook, I came to the startling realization that I had theater tickets for tonight.  We were supposed to go see Boeing, Boeing at Center Rep with Micky and Linda.

Remembering to go was the first hurdle, but who to go with?  Gail is out of town for a couple of days so I asked Iris, who loves the theater as much as we do.

Dinner at Massimo first.  Running late because I forgot it was a 6 pm dinner for a 7:30 curtain–whose bright idea was it to have the curtain half an hour earlier than usual?  Must be the same bozo who is starting the bridge tournaments early.  It’s like a spreading disease, the Spanish Flu of starting times.

But then we got to the theater and everything else just slipped away.  Boeing, Boeing is simply hilarious, the most produced French play in history. (It’s in English, of course.  But I think it would be cool if they did it in French with supertitles like the opera.)

The story is classic bedroom farce.  Bernard has a gorgeous flat in Paris, and 3 fiancées, each an “air hostess” with a schedule that meshes neatly with the others.  His friend Robert comes to visit, there are various and sundry interruptions in the air traffic system, and all suddenly he has all three women in the apartment at the same time.  Chaos, hysterical chaos,  of course ensues.

Center Rep is an equity house–their actors are members of Actors Equity.  One of the players, though, is not, and yet she steals the show.  Lynda DiVito plays Bertha, the cynical, contemptuous housemaid who keeps the entire menage running.  I’ve had harsh words before about non-Equity actors, but DiVito is as capable as anyone on the stage.

The set and costumes are magnificent–I don’t know where they find the period furniture or the solid color polyesters to make the airline uniforms.

So I laughed for over 2 hours.  The acting was great, the writing was great, the staging was great.  Director Michael Butler has added considerable physical comedy to the already excellent script and keeps the pace moving steadily along to its side-splitting conclusion.

The really good reviewers see a play on opening night–I’m not one of them.  You’ll have to hurry, since this play closes Saturday night.  If you love to laugh until it hurts, you won’t want to miss it.

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