Florida Theater Review by Myra Chanin . . . .
Let’s not beat around the bush. Moon over Buffalo (now playing at Lynn University in Florida) by Ken Ludwig is a first-class hilarious classic American farce. Director Harry Murphy—long may he live, breathe and direct comedies—calls the play an homage to commedia dell‘arte and Molière. I didn’t require such fancy-schmancy references. I was too busy laughing my tushie off to this great example of good ol’ American silent-film slapstick.
Let’s talk plot first. There ain’t much of one, but I was too amused by the actors’ contortions to notice its absence. George Hay (Anthony Lobo) and Charlotte Hay (Hannah Hayley), the fading married pair who’ve set up a repertory company in 1950 in Buffalo, NY, when most of its steel plant workers were disinclined to spring for tickets to plays; particularly performed by a local Repertory Company that shifted between Rostand’s classic Cyrano and Noel Coward’s sophisticated Private Lives.
George and Charlotte Hay are on the brink of divorce for the usual reasons: George had an insignificant one-night stand with the company’s ingénue, Eileen (Heather Bravo) who believes she’s significantly pregnant. Glorious news curtails their argument. George learns that famed Hollywood Director Frank Capra would be replacing the star of Capra’s The Twilight of the Scarlet Pimpernel, after Ronnie Colman—Yippee!—tumbled down the stairs and broke both femurs, sending Capra flying off to Buffalo to attend George and Charlotte’s upcoming performance. If they were to impress him they’d have a shot at becoming the future Mr. and Mrs. S. Pimpernel. Charlotte—whom age had not supplied with wisdom, nor had it curbed her ambition—is ecstatic. George ain’t exactly crying in his beer. He’s composing a Dear Ronnie letter of commiseration to Colman while the booze—in which he’d drowned his sorrows at learning he might be a Dad again—was still capable of cheering him up.
In the meantime, their daughter Rosalind (Caroline Macchiarola) had broken up with Paul (Trevor Bishop), a featured actor in the company and has invited her current swain, Howard (Kaeden Quillian), the local TV weatherman, to meet her folks. As the many doors in the set are opened and shut, Charlotte, who knows not what Capra looks like, decides Rosalind’s weatherman is the Frank Capra and treats him accordingly . . . until she learns he isn’t.
The rest of the best Is yet to come.
Harry Murphy’s direction is sensational. The pratfall timing was exquisite, sidesplitting for myself and all of those around me. As were the squeaky voices, drunken stumbles, mistaken identities and the doors to whiz in and out of with pointless results. Murphy understands that farces are meant to be performed by the young, before they become aware that constantly banging your bones on your mark (when you don’t hit whatever you were supposed to fall on) will transform a young supple skeleton into the bag of old creaking bones that osteopathic surgeons, as yet unborn, will someday duel each other to take possession of in their OR.
Anthony Lobo, who plays George Hay, is a very funny actor, with the right appearance, classically burly, with a thin mustache and lots of chest hair hidden in clothing until it isn’t, but which encourages laughter when his chest is revealed. I’ve never seen anyone whizz in and out of the multitude of doorways, which farce demands, or fall or crawl as well as Lobo. He waves his arms in mid-air like a seagull regaining its balance, but his rear and the seat on which it was s’posed to sit whiz past each other like ships in the night. And he does that over and over and with total aplomb. He reminds me of Kevin Klein, my favorite magnificent klutz.
Kaeden Quillian’s Howard the TV Weatherman was masterful casting, and his performance, for me, was the big surprise of the show. That blank innocent face and that squeaky voice made me smile and roar when he bellowed and made loud, deep sounds.
Moon over Buffalo starred Carol Burnett on Broadway, who I’m sure played the role more kooky than Hannah Hayley’s Charlotte. Hannah is very beautiful, graceful and young—a trio of assets that give her a mighty advantage. And she’s totally into the role with the character’s ever-changing, eye-catching expressions flitting across her fabulous face. I see her as a cross between the wacky Queen of Romcom’s Lucille Ball—her high-pitched hysteria was equal to Mrs. Arnaz’s—and the crisp, seductive, sophisticated, intelligent, upper-class Katherine Hepburn; she’s in perfect control of her body parts, including mouth, torso and limbs. I watched in amazement as Hannah held herself stiff as a board and without allowing a single quiver on her body to move toward arms she couldn’t be sure would be there to catch her, but did. She’s my nominee for this year’s future star. Go get ‘em girl!
Kudos also to Adam Simpson, chair of Lynn’s drama program. So multifaceted, too. Not only does he select the productions, but designs and builds the wonderful sets for most of the shows. I knew he received his M.F.A. from FAU, but I’m curious about where he learned construction mastery. So far, I have resisted the temptation of inquiring whether he might find time to undertake a few infinitesimal renovations, an odd job for a very grateful widow.
Moon over Buffalo. Through December 9 at Lynn University’s Keith C and Elaine Johnson Wold Performing Arts Center (Boca Raton, Florida). www.lynn.edu/events
Photos courtesy of Lynn University
