BAREFOOT IN THE PARK

Contemporary Theatre of Dallas’s BAREFOOT IN THE PARK, Dallas

*REVIEWED 10-29-2010 PERFORMANCE
Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN

Contemporary Theatre of Dallas’ production of BAREFOOT IN THE PARK is a charming, feel good night of theatre that can be enjoyed by lovers, friends, mothers and daughters alike.

Neil Simon’s 1963 comedy centers on newlyweds Paul and Corie Bratter who, after six amazing honeymoon days at the Plaza, begin their marriage by trying to get to know one another in the TINY top floor apartment of a brownstone in New York City. Corie’s mother, Mrs. Banks, comes for regular inspections- uh-visits, and their rather eccentric new neighbor, Mr. Victor Velasco, seeks to keep things an interesting adventure for him and everyone around him. As Corie and Paul spend their first two weeks in this apartment, we see they have a lot of differences to overcome and must learn how to compromise. In the process, they throw a dinner party where they set up her mother and the neighbor, and they fight to make their young marriage last.

Many completely agree with Producing Artistic Director Sue Loncar’s opening night curtain speech, that BAREFOOT IN THE PARK will be considered one of the great American classics 100 years from now. I personally can’t help but love this script. Technology may change and elevators may be required in apartment buildings these days, but newlyweds adjusting to married life is universal. It’s timeless. The dialogue is quick witted, and everyone knows a mother like Mrs. Banks (some of us have even lived with her). There’s just enough conflict to keep the audience interested, but mostly, you just wonder how it will all work out and how many crazy antics will transpire in the meantime. One of the highlights of the writing is when Corie attempts to describe the beauty of “total love” she discovered on her wedding night. Her mother is less than eager to talk about sex with her daughter. It had me laughing out loud and everyone relating a little too well.

Contemporary Theatre of Dallas is a medium sized, semi-proscenium space where the audience sits markedly below the level of the stage and is raked up to the bar in the back. There is also a balcony audience section. Rodney Dobbs’ scenic design uses the entire space, allowing unique angles and wonderful sightlines, and yet gives the audience that cramped, barely functional dirt cheap apartment feeling. A giant skylight, with a broken windowpane through which snow falls, hangs center stage and offers a view of other rooftops. There is an authentic looking hallway with landing (for those needing to rest after climbing the five flights up) outside the front door at (house) left. The apartment has a couple of counters, stove, working sink and refrigerator for a kitchen. A step down lands guests in the living room that is just big enough to have two chairs and a small couch with built in bookshelves along the back wall. The tiny bathroom, that “doesn’t even have a tub”, is just right of up center, and then the door to the small one bedroom which we don’t see is at the far right. My guess would be that the apartment is supposed to be less than 650sq ft.

At the start, the apartment is empty except for a few wedding gifts and Corie’s luggage. After intermission, we see what Corie was able to envision about her new home. Making use of hanging beads, a screen and tiny furniture gives it a quaint atmosphere. I won’t lie- I watched the apartment’s transformation by the crew with a sense of awe and wonder. Wondering- how ARE they going to get furniture in this room? Somehow they did and the layout and design made me want to live in a top floor brownstone, too!

With a 1960s setting, a costume designer could go all out. However, costumer designer Aaron Patrick Turner was smart to keep the costumes simple but not overly 60ish. This allowed the audience to relate in the here and now and forget the time period. The only nitpick on costumes was that Corie’s dress in act II seemed a little too big. This is not a prop heavy show, but there is a fair amount provided by props designer Jen Gilson-Gillian. Gilson-Gillian committed one of my all- time pet peeves though: empty purses and suitcases- especially ones that need to be rummaged through by the actors. Sound designer Richard Frohlich had a nice selection of period and mood appropriate music, especially for the top of the show when we meet Corie. Lighting design, done by Jaymes Gregory, was a little generic (all lights on or blackouts), though there was some nice timing with the entry light switch appearing to be functional.

On opening night, every board operator’s nightmare occurred at the top of act II- the light board seemed to lose all of its intended cues OR there was some sort of delay with someone’s entrance. Either way, Carrie Slaughter-Whittlesey who played Corie took a few seconds to improvise a line or two as the lights fluctuated, and then simply gave herself an excuse to exit the apartment and the lights faded out. A few minutes later, she reentered and began the scene again. Though everyone wants a glitch free show, when it did occur, it was handled quickly and professionally. I have no doubt that whatever the problem was has been fixed for future shows.

Director Cynthia Hestand united the design elements alongside a delightful cast that brought to life these characters without being too weighted or too campy. The blocking flowed naturally- especially the mother’s near trip when she first enters the apartment. It brought gasps from the entire audience. It was also great to see, via the skylight, Victor Velasco “crawl” across the ledge to get to his attic apartment. However, all the up the stair stuff, as person after person enters tired and out of breath (throughout the show as it’s an ongoing joke) just wasn’t believable for anyone.

Slaughter-Whittlesey as Corie was charming and wide eyed, full of hope and joy as any newlywed should be. She has a very pretty, expressive face and moved across the stage with energetic grace. The show began with a music montage as Corie enters and begins unpacking from her honeymoon in her bare apartment. However, as we get to know Corie, it’s hard to believe she would do that in complete silence. Though there’s nothing in the script, perhaps she would squeal with glee or make “contemplating” sounds. Christoferson had a tendency to recite some of his lines at times, but was very good at keeping Paul a real man and not stiff or robotic. He does need to counter her free spirit a bit more at times and not just look so exhausted by her boundless thirst for life. I wanted to see why Paul fell in love with her so I could believe his struggle and desire to stay married to her. He was very charming, though, and likeable as the focused lawyer trying to win his first case. The final scene, as he and Corie grapple to stay together or divorce after less than two weeks, is both heartwarming and truthful. Engaged couples everywhere should be required to attend and take notes.

Mrs. Banks, Corie’s mother, was the scene stealer and was well played by Marcia Carroll. “She’s my mother!” exclaimed more than one audience member. Her New Jersey accent was spot on, though they needed to age her face to match her wig/grey colored-hair. Her attempts to hide her first impressions, both about the apartment and the neighbor, had everyone laughing. Also, her tender moments as she hopes to help Corie reunite with Paul were touching. John S. Davies as Mr. Victor Velasco, the eccentric upstairs neighbor, was an appropriate mix of slimy and mischievous with a pinch of charm. The telephone repair man, played by Francis Henry, was funny as he played a rather sane counter- part to Corie’s neurosis. In the second act, when he makes a brief reappearance, he played a semi-fatherly figure as he attempted to advise the distraught couple. He was simple, to the point and yet subtle with his advice. I wanted him to have more lines at that moment.

After the show, I was tempted to walk barefoot in a nearby park, just because both Corie and Paul made it sound like an enlightening way to spend an evening. Though they had a little shaky opening, Contemporary Theatre of Dallas’ BAREFOOT IN THE PARK is good for laughs and has an ensemble we all know and can relate to.

Contemporary Theatre of Dallas presents Neil Simon’s BAREFOOT IN THE PARK through November 21.

Performed at Contemporary Theatre of Dallas, 5601 Sears Street, Dallas. Tickets can be purchased online at www.contemprarytheatreofdallas.com or by calling 214-828-0094.


Directed by Cynthia Hestand
Written by Neil Simon
Producing Artistic Director: Sue Loncar
Managing Director/Co-Producer: Russell K. Dyer
Scenic Design: Rodney Dobbs
Lighting Design: Jaymes Gregory
Sound Design: Richard Frohlich
Props Design: Jen Gilson-Gilliam
Costume Design: Aaron Patrick Turner
Production Stage Manager: Lindsay Anderson
Stage Manager: Maggie Belanger
Assistant Stage Manager: Grace Keller Scotch
Deck Crew/Delivery Man: Matt Cook
Scenic Construction: GPO Theatrical
Master Carpenter: Dave Tenney
Carpenter: Clint Ray

CAST
Corie Bratter: Carrie Slaughter-Whittlesey
Paul Bratter: Will Christoferson
Mrs. Banks: Marcia Carroll
Victor Velasco: John S. Davies
Telephone Repair Man: Francis Henry