Theatre Review EVENT NEWS
“RED HERRING” … A Satirical Romantic Romp With Non-Stop Laughs ... and Love, too!
By: Joseph Sirota
My favorite part of reviewing is the opportunity to spread the word of a new production that isn’t yet well-known to widespread audiences, but turns out to deliver undeniable “specialness.” The Laguna Playhouse’s current run of Michael Hollinger’s mile-a-minute play “RED HERRING,” a double-daring mix of genres and actors’ roles (everyone plays multiple parts in multiple costumes and settings, all at breakneck pace and spouting extremely sharp dialog exchanges that would challenge performers from Olivier to Mel Brooks. It’s a tribute to the author that this execution of his “go for broke” complicated play had the audience applauding every single scene (and there’s lots of scenes), then standing to applaud long and hard at final curtain. It’s equally a tribute to fine director Andrew Barnicle and his select powerhouse cast of six that they are smart, versatile and likable enough to make this play work, when in lesser hands, it’s potential might go begging, leaving a disjointed mess for audiences.
“RED HERRING” is one play where I’m happy that reviewers mustn’t reveal plot details, to avoid ruining a show’s twists, turns and surprises, Playwright Michael Hollinger’s “plot” would take twice the space of this review to lay out in detail, and even then, you’d likely scratch your head and mutter “Huh? … are you serious?” I can tell you, the answer is, “No, Hollinger is very good, but purposefully NOT SERIOUS”. He undauntedly intermingles genres including murder, mystery, espionage, politics, friendship and romance, and he does it all with an unabashed no-holds-barred satirical approach. Hollinger fully intends that much of the fun of the evening come from each audience member taking the many pieces and deciding for himself whether the play succeeds in putting them together to create a rare, unique treat, rather than a hodgepodge. Again, if I laid out the plot details, you’d likely predict hodgepodge (I did). But I’ll be darned if author, director and cast don’t make the result downright delicious fun.
The time is 1952, the place, Wisconsin (and more). Three parallel romances blossom, hit roadblocks and strangely intertwine in a maze of smartly hysterical mayhem (many would deem it farce, but I’d say it’s a bit wiser “satire”). The playwright and the director keep these laughably askew lovers up to their ears in the aforementioned murder, espionage and FBI and Police investigations. But though the zigzagging mystery/intrigue aspects of the play add tasty whipped cream and cherries to the show, its true sweetness ultimately comes from the reverence for love triumphing over all at its heart. That’s all I’ll reveal, plot-wise. Even this relatively broad overview may have your head spinning. Again, I assure you, in these talented hands, it works!
Who are these “odd-couples” and who plays them so handily? Couple one is a tough, determined FBI agent (handsome, disarming, solid even in jest, Brendan Ford) and his equally tough, etc beloved female police-detective (a strong yet vulnerable fun force to be reckoned with, Kirsten Potter). They winningly reveal fragile hearts-of-gold beneath their guns and badges.
Couple two is a young Jewish nuclear physicist considering treason for quasi-ethical reasons (radiating smartness, yet disarming boyishness, Brett Ryback) and his ditsy, disparate soulmate who just happens to be Irish Catholic and Senator Joe McCarthy’s daughter (infectiously open-hearted, funny and sensual, Traci L. Crouch). They may rarely understand each other, but sure do love each other.
Couple three may be older, but these cantankerous lovebirds steal many a beat with their volcanic physical and verbal comic licks. The Russian Herring fisherman passionately longing for his new love but torn by obligations to his old love (absolute comedic master of amazing range, Tom Shelton) has clearly found his destined counterpart in middle-aged but even more passionate dockside rooming house owner (sporting the endless energy of an bubbling natural comedienne, DeeDee Rescher).
Behind the scenes support is as impressive as the on-stage ensemble’s nimble characterizations. With over 20 scene changes and so many multiple role portrayals, both cast and crew truly dazzle. Bruce Goodrich’s quick and clever set(s), Julie Keen’s equally quick and varied costume designs together with Paulie Jenkins attention-directing lighting and David Edwards’ sound (including McCarthy Hearing tracks and sub-location sound effects) meet all challenges. We’re happily whisked through this wildly paced imaginative journey “packed with smart observations and overflowing humor at every step.” I highly recommend catching Red Herring. It’s the most fun of any play I’ve seen this year (or last year, for that matter). You also may well be seeing a strong nominee for 2008 Best Ensemble Performance of the year. This is one “Red-Herring” that doesn’t mislead.
